Amritpal Rai
Amritpal is a 2017 Penn State graduate with a B.A. in English Composition and was raised as a young kid watching movies to analyze and a free-flow of creative ideas. He loves to express himself creatively but he loves writing and talking about films and what makes them unique and impactful. Born in the 90s, Amritpal grew up with cinema through horror and action (his dad, god bless him, wasn’t the best parent when it came to what he could watch but he grew up real quick through horror and loves him for it), and like any movie lover, he was the “movie guy” in a friend group. Currently, he is getting back to his roots in writing about film and the awards space and hopes to expand his horizon and focus on a creative writing project he can express his ideas through.
"Oppenheimer" Review: Sound and Fury Merge in Nolan's Masterpiece
"Dead Reckoning" Review: Tom Cruise's Mission to Save Hollywood Blockbusters
"Dial of Destiny" Review: Final Indiana Jones Film Feels More Like an Imitation than an Adventure
Review: "The Flash" Speeds Into A Turbulent Multiverse
"Transformers:" A Franchise In Disarray
Top Ten Films To Not Win The Palme d’Or Since 2000
"The Little Mermaid" Review: Disney Dives Back Into the Blue
"Beau is Afraid" Review: Beau Is A Pawn in Ari Aster’s Nightmare
"Air" Review: What Makes A Dad Movie
The Best Picture Winner Can Come From Anywhere
Riseborough Defines "To Leslie," Not The Oscar Nomination
DOUBLE FEATURE 026: La Haine (1995), Do The Right Thing (1989) & The Single Day Film
EP 056: A Haunting in Venice (2023)
EP 055: The Nun II
EP 055: The Nun II (2023)
DOUBLE FEATURE 025: Sound of Metal (2019), M (1931) & Sound in Film
EP 053: Gran Turismo (2023)
DOUBLE FEATURE 024: Thelma & Louise (1999), Little Miss Sunshine (2006) & The Road Trip Movie
EP 051: The Last Voyage of the Demeter
EP 048: Barbie (2023) & Oppenheimer (2023)
DOUBLE FEATURE 021: Dead Poets Society (1989), Aladdin (1992) & Same Actor, Different Roles
EP 046: Joy Ride (2023)
NEWS 002: 2023 Midyear Review
Possibly Bruce Campbell’s best performance in all three films. Ash is the immovable object in the unstoppable force of the Necronomicon and its powers, and Campbell is in true form…
Read on Letterboxd ↗“In a pantheon of masterpieces, no film from maestro Martin Scorsese has ever felt as painfully melancholic and nostalgically somber about the mysticism of America’s ethereal figures as The Irishman.…
Read on Letterboxd ↗Anna Farris and Regina Hall, innocent. They could read the phone book together as Cindy and Brenda and I’ll find a way to laugh because they’re so damn funny.We’re back…
Read on Letterboxd ↗Unironically, Jared Leto’s Skeletor is the most entertaining character, and it’s not even close.Remarkably boring and tedious to the point of inducing lethargy. There’s loads of charm surrounding the screen—sometimes…
Read on Letterboxd ↗A truly profound, achingly beautiful war film that allows you to sit, contemplate, and interrogate the images of war violence and the undertones of transcendentalism. Nature is an overarching guidance…
Read on Letterboxd ↗Road trip movies often have a rhythmic dance between the intimate and the claustrophobic nature of being confined in a hunk of metal on wheels. There’s a weighted tension of…
Read on Letterboxd ↗I thought I had seen the light once the credits for The Strangers: Chapter 3, Renny Harlin’s ill-conceived, awfully bad horror trilogy, began. It pummeled me within the span of…
Read on Letterboxd ↗Oscar nomination #11 for Best Actress I think it’s too easy to have a reductive view of a Lifetime-esque drama involving a parent dying of cancer. Especially when there’s an abundance…
Read on Letterboxd ↗Oscar nomination #9 for Best ActressIt’s hard to not be charmed by a Mike Nichols comedy drama that works as both satirizing the manicured Hollywood sheen of pleasantries and phony…
Read on Letterboxd ↗Oscar nomination #8 for Best Actress Despite Meryl’s black bob looking oddly out of the place, this is such a deeply unsettling court room drama of innocence clashing with media spectacle…
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