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
Vier minus drei adapts Barbara Pachl-Eberhart's memoir of losing her family, with Valerie Pachner superb as a hospital clown finding her way through grief.
Yes, if you can face the subject. It is an honest, sometimes darkly funny grief drama with a remarkable lead performance, even if its form is conventional.
Welcome to the Jungle, the third Welcome comedy, drops a veteran ensemble into a jungle film-shoot caper that sprawls over 170 minutes without finding its tone.
Mostly no. The cast lands some laughs, but the film never settles on a tone and runs close to three hours. Only for committed fans of the Welcome series.
Yellow Letters is İlker Çatak's Golden Bear-winning drama about two Ankara theatre artists punished by the state, gripping at first and more schematic later.
Yes, with reservations. The lead performances and the tense opening are superb, though the second half grows schematic. Best for viewers drawn to serious political drama.
Young Washington is Jon Erwin's French and Indian War origin story for George Washington, anchored by a confident William Franklyn-Miller but short on nuance.
It depends. Viewers who want a sincere, patriotic historical adventure will enjoy it; anyone hoping for a nuanced portrait of Washington or his war will find it thin.
Rangkuman ulasan TIFF yang positif: Mahershala Ali memimpin perpaduan thriller aksi, duka keluarga, dan pergulatan iman yang berani, meski respons terhadap temanya beragam.
Layak masuk daftar tontonan bagi pencinta thriller dan drama keluarga yang berani. Ini rangkuman ulasan TIFF. Rating pribadi Kaiser Khan sebesar 5/5 dicatat terpisah pada halaman film.
Critics largely welcomed 28 Years Later as a bold, strange and often moving return for Danny Boyle and Alex Garland, though several found its lurching tone and sequel-minded ending uneven.
Most critics say yes: 28 Years Later is a daring, visually inventive horror film anchored by Alfie Williams, though its tonal swerves and open ending divided some. This is a roundup of published reviews; Celluloid has not rated it.
Most critics found A Minecraft Movie a loud, formulaic video-game adaptation redeemed only in patches by Jared Hess's oddball humour, Jason Momoa and Jennifer Coolidge, though a few called it a charming family romp.
Mostly no, say critics: beyond pockets of Jared Hess's odd humour it is noisy and formulaic, though some found it a charming, silly treat for young fans. This is a roundup of published reviews; Celluloid has not rated it.
Critics praised A Silent Voice as a tender, visually inventive drama about bullying, guilt and redemption, though several found its condensed manga plot crowded and its deaf heroine too passive.
Most critics say yes: A Silent Voice is a moving, carefully animated study of guilt and friendship, though its busy plot and shifting tone kept some at a distance. This is a roundup of published reviews; Celluloid has not rated it.
★★★★½
Abang Adik is Jin Ong's Malaysian drama about two undocumented brothers in Kuala Lumpur, a devastating, superbly acted portrait of love on society's margins.
Yes. It is one of the strongest Malaysian films in years, moving and beautifully performed, best for viewers ready for heavy emotion and a heartbreaking social drama.
★★★★½
Makbul Mubarak's Autobiography is a chilling Indonesian thriller about a young man in the service of a retired general: a slow-burn study of power and complicity.
Yes. It is one of the finest Indonesian films of recent years, a gripping political thriller for viewers ready for a patient, slow-tightening build.
Critics were divided on Avatar: Fire and Ash: nearly all admired James Cameron's spectacle and Oona Chaplin's villain, but many found its story an overlong retread of The Way of Water.
Critics were split: go for the spectacle, which almost everyone admired, but expect a long, familiar story that several reviewers found repetitive. This is a roundup of published reviews; Celluloid has not rated it.
★★★★★
Bad Genius is Nattawut Poonpiriya's Thai thriller about a gifted student who turns exam cheating into a business, staged with all the tension of a great heist film.
Yes. It is one of the most gripping thrillers of its decade, a heist film about school exams that works for teenagers and adults alike and has real bite about class.
★★★★☆
Because This Is My First Life is a Korean contract-marriage rom-com that treats rent, careers and thirty-something doubt as seriously as love. It is wry and moving.
Yes, with reservations. It suits viewers who want a grown-up, low-key romance about money, marriage and work, though its slow pace and deadpan hero need patience.
★★½☆☆
Behind the Scenes is Funke Akindele's record-breaking Nollywood drama about a generous businesswoman and the people using her. Relatable, but heavy-handed.
It depends. Fans of big, emotional Nollywood family dramas will enjoy its relatable premise and strong lead; viewers who want subtlety will find it preachy and predictable.
★★★★½
Blossoms Shanghai is Wong Kar-wai's first TV series, a lush 30-episode saga of money, love and memory in 1990s Shanghai, anchored by a magnetic Hu Ge.
Yes. It is a gorgeous, ambitious drama for Wong Kar-wai admirers and patient viewers who enjoy period sagas, though its length and elliptical plotting demand commitment.
Critics found Bring Her Back a deeply disturbing horror film about grief, lifted by a chilling Sally Hawkins, though several felt its plotting and finale were looser than its atmosphere.
Most critics say yes, for those who can stomach it: Bring Her Back is a harrowing grief horror with a superb Sally Hawkins, though its logic and ending drew complaints. This is a roundup of published reviews; Celluloid has not rated it.
Critics praised Emma Stone and Jesse Plemons in Bugonia, Yorgos Lanthimos's dark kidnap comedy, but split over whether the film says anything new or simply revels in its own cruelty.
Critics are divided but lean positive: Bugonia is a tense, darkly funny showcase for Stone and Plemons, though several found it shallow or needlessly punishing. This is a roundup of published reviews; Celluloid has not rated it.
★★★★☆
Cake is Asim Abbasi's Karachi family drama about siblings reunited to care for ageing parents, led by superb work from Aamina Sheikh and Sanam Saeed.
Yes, with reservations. It is one of the best modern Pakistani family dramas, ideal for fans of ensemble stories, even if it runs long and leans on melodrama late on.
★★★★☆
City of Men is Paulo Morelli's warm, tense favela drama about two best friends facing fatherhood and a gang war, a worthy companion to City of God.
Yes, with reservations. It is a heartfelt, gripping coming-of-age drama for anyone moved by City of God, though its plotting leans on coincidence and melodrama.
Critics broadly enjoyed Companion as a nimble, darkly funny sci-fi thriller carried by Sophie Thatcher, though several found its satire of relationships and technology fairly shallow.
Most critics say yes: Companion is a sharp, funny genre thriller with a standout Sophie Thatcher, though few thought it had much new to say. This is a roundup of published reviews; Celluloid has not rated it.
Critics admired Dead Poets Society for Robin Williams's restrained performance, its young cast and Peter Weir's atmospheric direction, while noting predictable conflicts; a later critique questions its idea of teaching.
Most critics here say yes: Dead Poets Society is a handsome, well-acted drama, though even admirers found its conflicts predictable and one later critic calls its message shallow. This is a roundup of published reviews; Celluloid has not rated it.
Critics split on Deadpool & Wolverine: some hailed a brisk, very funny team-up that revives Marvel, while others found it an overstuffed, self-satisfied parade of in-jokes and multiverse lore.
Critics were divided. Fans of the first two films and of Hugh Jackman's Logan will likely enjoy it; viewers tired of cameos and multiverse lore may not. This is a roundup of published reviews; Celluloid has not rated it.
Critics agreed that Demon Slayer: Kimetsu no Yaiba Infinity Castle is a visual triumph with thrilling fights, but most found its flashback-heavy, episodic structure long and hard going for anyone new to the series.
For fans, critics say yes: the animation and fights are among the best in the genre, though the episodic structure drags and newcomers will struggle. This is a roundup of published reviews; Celluloid has not rated it.
Critics largely warmed to Despicable Me as a funny, good-natured family cartoon with an appealing villain and scene-stealing minions, though several found its redemption story familiar and its final stretch formulaic.
Most critics say yes: Despicable Me is a likeable, inventive family comedy lifted by Steve Carell's Gru and the three orphans, though its plot follows a well-worn path. This is a roundup of published reviews; Celluloid has not rated it.