Siddhant Adlakha

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IGN, IndieWire, Observer, Polygon, Variety
For 350 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 3.1 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 350
  2. Mixed: 111 out of 350
  3. Negative: 18 out of 350
350 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?
    • 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?
    • 70 Metascore
    • 38 Siddhant Adlakha
    Hedda
    Based on Henrik Ibsen’s classic stage play Hedda Gabler, Nia DaCosta’s Hedda seeks to reinterpret and modernize the late 19th-century material. However, in the process, it loosens the nuts and bolts of Ibsen’s dramaturgical machine, causing it to ricket until it falls apart.
    • tbd Metascore
    • 30 Siddhant Adlakha
    Stealing Pulp Fiction
    Malformed comedy and character beats keep the movie feeling like a rough first draft.
    • 23 Metascore
    • 10 Siddhant Adlakha
    Krazy House
    Directors Steffen Haars and Flip van der Kuil offer ideas of subversion that feel both long-outdated in concept and completely dull in execution, to the point that merely describing the film feels irresponsible, lest its premise accidentally lure curious viewers to the cinema.
    • 44 Metascore
    • 30 Siddhant Adlakha
    Hellboy: The Crooked Man
    Everything that unfolds in The Crooked Man does so with exceptional dullness, including various psychic visions experienced by the characters, which feel more obligatory than inspired.
    • 74 Metascore
    • 25 Siddhant Adlakha
    Eno
    With a human artist at the center of the film — one with wit and alluring charm, and whose reflections on death and creativity are intriguing, and even harrowing — to eschew meaning in the name of a nominal experiment is artistic malpractice.
    • 48 Metascore
    • 35 Siddhant Adlakha
    Freud's Last Session
    Nothing comes of anything either man says. It’s all noise — all passionless anger going in circles, captured by a camera that seems averse to lingering on the tremendous talents of Hopkins and Goode, who try their best to rescue Freud’s Last Session from itself.
    • 29 Metascore
    • 0 Siddhant Adlakha
    Poolman
    It’s only 100 minutes long, but upward of 99 of those minutes are likely to be spent in silent boredom, if not irritated disbelief at being subjected to such guileless, artless nonsense.
    • 42 Metascore
    • 35 Siddhant Adlakha
    Transformers: Rise of the Beasts
    To some extent, each shot is a little more neatly composed. But they’re all strung together with the barest visual and narrative connective tissue, resulting in a baffling film that feels strange not only for a modern blockbuster, but for a Transformers movie as well.
    • 53 Metascore
    • 30 Siddhant Adlakha
    Renfield
    Tyranny of tone and language aren’t the movie’s only problems. Its story is similarly half-baked, with allusions galore to overcoming demons and finding inner strength that are only ever lip-service, rather than being dramatically or even comedically expressed.
    • 54 Metascore
    • 20 Siddhant Adlakha
    Empire of Light
    Sam Mendes assembles a creative dream-team for Empire of Light, but ends up with one of the most soulless prestige pictures in years.
    • 46 Metascore
    • 30 Siddhant Adlakha
    They/Them
    Neither polished enough to be engaging drama, nor campy or exploitative enough to be effective horror, They/Them is a plodding, tensionless, and ultimately cowardly movie. Even if it had something worthwhile to say, it would have no idea how to say it.
    • 38 Metascore
    • 25 Siddhant Adlakha
    Jurassic World Dominion
    With little tension or humor to speak of, there’s nothing keeping Jurassic World: Dominion afloat, beyond the naïve hope that recognizing the familiar will be enough for some viewers. Maybe it will be, but it’s proof positive that we’re in one of the dullest, most artless periods of Hollywood blockbusters yet — “Top Gun: Maverick” notwithstanding — and we could be stuck here for some time.
    • 48 Metascore
    • 20 Siddhant Adlakha
    The Protégé
    The Protégé is so bad that it feels like it has to be on purpose.
    • 28 Metascore
    • 38 Siddhant Adlakha
    Infinite
    The Mark Wahlberg–starrer reveals just how stuck Hollywood sci-fi is in 1999, when The Matrix cemented ideas of digital consciousness in the Western mainstream (with a bent of pan-Asian spirituality).
    • 40 Metascore
    • 30 Siddhant Adlakha
    Spiral: From the Book of Saw
    A sequel that hopes to court Saw fans and mainstream audiences alike, Spiral: From the Book of Saw is likely to alienate them both. It’s a hollow imitation of the series, unable to meet its most basic visual and narrative expectations. It’s also a bad film in general, which tries to tell a socially relevant story that it can’t seem to handle.
    • 43 Metascore
    • 30 Siddhant Adlakha
    Antebellum
    The psychological thriller-horror film Antebellum mishandles its sensitive & painful subject matter on multiple levels.

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