Siddhant Adlakha

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IGN, IndieWire, Observer, Polygon, Variety
For 349 reviews, this critic has graded:
  • 56% higher than the average critic
  • 2% same as the average critic
  • 42% lower than the average critic
On average, this critic grades 3.2 points higher than other critics. (0-100 point scale)

Siddhant Adlakha's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 Brian
Lowest review score: 0 Poolman
Score distribution:
  1. Positive: 221 out of 349
  2. Mixed: 110 out of 349
  3. Negative: 18 out of 349
349 movie reviews
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    • 39 Metascore
    • 30 Siddhant Adlakha
    Michael
    Michael, or Bohemian Jacksody, is a film of listlessness and inhumanity that can’t help but suck the energy out of the room. No matter where you come down on Jackson as a person, this film is entirely the opposite of what he was, both as an iconic performer and a controversial tabloid figure. Who would have thought that such a carefully controlled, estate-permitted biopic might actually do more damage to an artist’s legacy by making him so uninteresting?
    • 61 Metascore
    • 60 Siddhant Adlakha
    Hamlet
    Riz Ahmed makes for a vigorous lead in Aneil Karia’s contemporary British-Indian Hamlet, which loses its emotional clarity beneath an intriguing exterior. Its use of silence and intimacy grants it a fascinating texture, but the film never challenges or re-invigorates Shakespeare’s greatest work, ensuring that it ends up somewhere in the middle of a lengthy pile of adaptations.
    • 80 Metascore
    • 80 Siddhant Adlakha
    The Christophers
    Ian McKellen and Michaela Coel deliver two brilliant, diametrically opposed performances in Steven Soderbergh’s gentle art world caper.
    • 47 Metascore
    • 70 Siddhant Adlakha
    Lee Cronin's The Mummy
    As ugly as it is amusing, Lee Cronin’s The Mummy takes the kind of tonal swings you rarely see from a Hollywood studio.
    • 59 Metascore
    • 90 Siddhant Adlakha
    The Drama
    Led by immaculate performances, it’s one of the most delightfully nerve-wracking rabbit holes you’re likely to tumble down this year.
    • 73 Metascore
    • 38 Siddhant Adlakha
    I Love Boosters
    Gosh, is it ever a letdown to have a filmmaker all but pop up on screen to remind us what his movie is not-so-secretly about, before failing to live up to not only his own political objectives, but some of the most basic visual tenets of narrative filmmaking. Down with the bourgeoisie? Absolutely. But must the revolution be so sloppy?
    • 62 Metascore
    • 70 Siddhant Adlakha
    Normal
    Bob Odenkirk’s presence helps create a sense of gravitas even when the film is straightforward, adding soulful dimensions to a fairly simple character in whose hands guns and explosives are as much tools of violence as they are instruments of a righteousness long lost to moral compromise.
    • 52 Metascore
    • 60 Siddhant Adlakha
    Over Your Dead Body
    A tale of miserable spouses plotting each other’s demise, it doesn’t always work, but its action comedy stylings are enough to keep it entertaining even when it swerves into ugly excess or extraneous subplots.
    • tbd Metascore
    • 50 Siddhant Adlakha
    Dhurandhar The Revenge
    The sequel to Bollywood’s biggest hit is bigger, longer, and just as vicious in its on-screen butchery, but has far less artistry and visceral allure. The continued spy-revenge saga runs a mind-numbing four hours, during which it sheds all semblance of human drama in favor of naked political propaganda that reveals the emperor has no clothes.
    • 51 Metascore
    • 40 Siddhant Adlakha
    Pretty Lethal
    Pretty Lethal is a wonderfully original idea, but its execution falls flat.
    • 81 Metascore
    • 100 Siddhant Adlakha
    Brian
    That such a hefty topic can be used to create such breathless, eye-watering comedy without tipping into self-indulgence — and without robbing the film of its most meaningful drama — is practically a miracle.
    • 50 Metascore
    • 40 Siddhant Adlakha
    They Will Kill You
    The twists of its premise soon end up souring it conceptually, resulting in rapidly-diminishing returns, with derivative formal flourishes that largely recall other, better films. It is, by the time its credits roll, completely exhausting.
    • 60 Metascore
    • 80 Siddhant Adlakha
    A Magnificent Life
    In depicting both Pagnol and Chomet’s search for authentic truths within their stylized works, it’s a perfect marriage of subject and form.
    • tbd Metascore
    • 88 Siddhant Adlakha
    Dao
    Dao, named for the Taoist belief in an unceasing motion that flows through and unites all things, is a film of anthropological self-reflection, but it is also a surprising exploration of cinematic process.
    • 87 Metascore
    • 88 Siddhant Adlakha
    Rose
    Markus Schleinzer’s Rose, an exceptional historical fiction, doesn’t so much transport you to the past as it brings you to the edge of the translucent curtain that often obfuscates history from view.
    • 66 Metascore
    • 100 Siddhant Adlakha
    Yellow Letters
    At its core is the kind of cinema that has long sustained the medium at large: the family drama. But it’s presented here with invigorating flourishes that encircle the story within specific moments in time, while also granting it a stirring dramatic transcendence. The scope of its ambition is met, at every turn, by deft control over what is witnessed, and how.
    • 78 Metascore
    • 90 Siddhant Adlakha
    Nirvanna the Band the Show the Movie
    Part guerrilla prank saga, part heartwarming friendship story, and part riff on Back to the Future, the result is an incredibly fine-tuned mishmash of styles and ideas that keeps evolving in surprising ways.
    • 86 Metascore
    • 100 Siddhant Adlakha
    Josephine
    Mason Reeves delivers one of the most stunning child performances in recent memory, while Channing Tatum and Gemma Chan lean into their familiar acting hallmarks but find uncomfortable new layers as a mother and father bound by their own upbringings. The result is visceral, gentle, and ultimately, shattering.
    • 37 Metascore
    • 40 Siddhant Adlakha
    In the Blink of an Eye
    Both as drama and as science fiction, In the Blink of an Eye doesn’t probe these questions, but rather, drops definitive answers like anvils, leaving little room to ruminate, wrestle, or consider.
    • 77 Metascore
    • 50 Siddhant Adlakha
    Ha-Chan, Shake Your Booty!
    While trying to confront grief with a sense of mischief, the movie’s impish tonal approach takes the sting out of death a little too often, rendering its catharsis null. It’s hard not to respect a big swing, but Wladyka ultimately misses.
    • 63 Metascore
    • 75 Siddhant Adlakha
    I Want Your Sex
    I Want Your Sex may not ultimately have much to say, but its livewire comic scenarios yield the kind of raucous, sexually charged entertainment seldom seen in Hollywood of late.
    • 64 Metascore
    • 60 Siddhant Adlakha
    undertone
    Although it eventually leans into traditional genre hallmarks, its introductory musings are novel, taking the form of a one-woman performance showcase that makes ingenious use of visual and auditory negative space.
    • 34 Metascore
    • 40 Siddhant Adlakha
    Mercy
    A headache-inducing screenlife film that straps Chris Pratt to a chair and holds its audience hostage too, Mercy squanders its potential as a sci-fi thriller about the dangers of entwining justice and artificial intelligence. The result plays less like the tongue-in-cheek mystery-thriller director Timur Bekmambetov seems to be aiming for, and more like an advertisement to tech investors, making the movie chilling in unintended ways.
    • 78 Metascore
    • 80 Siddhant Adlakha
    Shuffle
    It’s a film about fraud built upon fraud, with organizations claiming to care about drug users but systematically ensuring they relapse, all the while wringing them and their insurers for all they’re worth. Essentially, it’s a dynamic that reduces people into products and insurance policies first, but Flaherty uses his camera to re-humanize them.
    • 61 Metascore
    • 50 Siddhant Adlakha
    We Bury the Dead
    Its strengths also ensure that no matter how rote “We Bury the Dead” becomes, it remains at least watchable for most of its runtime, even as it ignores its most fascinating ideas in favor of safe, familiar ones.
    • 80 Metascore
    • 80 Siddhant Adlakha
    The Testament of Ann Lee
    An intoxicating historical musical about faith, led by career-best work from Amanda Seyfried.
    • 78 Metascore
    • 70 Siddhant Adlakha
    Holding Liat
    The camera’s non-interventionist nature becomes vital. The visual approach embodies the Beinin family’s loss of control, and the growing uncertainty around them and what they believe.
    • 61 Metascore
    • 50 Siddhant Adlakha
    Song Sung Blue
    Kate Hudson and Hugh Jackman’s performances are a treat in Song Sung Blue. They sing and perform their hearts out, but none of it ends up in service to a coherent vision, let alone one that says something meaningful or profound.
    • tbd Metascore
    • 80 Siddhant Adlakha
    Dhurandhar
    Bollywood gangster saga Dhurandhar walks a fine line between raucous entertainment and hateful propaganda. With more blood and guts than a slaughterhouse, it’s one of the most viciously enthralling films this year, following a fictitious undercover operative influencing real historical events, like Forrest Gump with a Kalashnikov.
    • 95 Metascore
    • 90 Siddhant Adlakha
    Kill Bill: The Whole Bloody Affair
    Quentin Tarantino’s decades-in-the-making ultimate release of Kill Bill has been worth the wait. Across four hours and change, it retains all the exuberant action highlights that made the duology an instant classic while allowing the saga’s emotional pieces to fall more neatly into place.
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