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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    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • tbd Metascore
    • 80 Siddhant Adlakha
    Outerlands
    Elena Oxman’s Outerlands is a film of great cinematic sleight of hand.
    • 69 Metascore
    • 80 Siddhant Adlakha
    Happy Holidays
    Copti and cinematographer Tim Kuhn shoot each interaction with an up-close, handheld intimacy that not only magnifies the subtle, powerful performances of the cast (many of them first-time actors), but welcomes the viewer into each scene, as though it were a complicated family reunion.
    • 80 Metascore
    • 70 Siddhant Adlakha
    Cutting Through Rocks
    The film’s irascible but deeply principled subject — thirty-something divorcee Sara Shahverdi — gives the film its energy, though its lulls aren’t quite as purposeful. However, despite feeling drawn-out, the doc features occasional bursts of visual panache that help emphasize its underlying story.
    • 40 Metascore
    • 80 Siddhant Adlakha
    The Carpenter's Son
    Rife with great performances and disturbing imagery, The Carpenter’s Son transcends its trappings as a mere horror take on Christ and verges on challenging.
    • 85 Metascore
    • 90 Siddhant Adlakha
    Cactus Pears
    It eventually takes on radiant form, with emotional complexities born out of characters walking around the truth, if only because euphemisms are the only language they have.
    • 83 Metascore
    • 80 Siddhant Adlakha
    Put Your Soul on Your Hand and Walk
    Hassona is both fashionable and immensely talented (she shares her Arabic poems and songs with Farsi), and the more we see of her over the movie’s 110 minutes, the more devastating it becomes that we will never meet her, or never truly get to know her.
    • 76 Metascore
    • 88 Siddhant Adlakha
    Father Mother Sister Brother
    Although simple in appearance, Father Mother Sister Brother beats with the wisdom of an artist in his early twilight.
    • 72 Metascore
    • 75 Siddhant Adlakha
    Is This Thing On?
    Cooper’s latest is clearly the output of someone who has been through personal anguish, and like Alex Novak, he attempts to use his pain as the basis for not just something healing but something hilarious, albeit something deeply imperfect, too.
    • 53 Metascore
    • 63 Siddhant Adlakha
    Anemone
    It’s filled with powerful ideas about the many ways that violence—of the body, of the state and of the soul—manifests in men, and the generational ripple effects therein, even if it doesn’t cohere enough to be consistently engaging.
    • 94 Metascore
    • 90 Siddhant Adlakha
    My Undesirable Friends: Part I - Last Air in Moscow
    Loktev’s immersion in the action provides a pulse-pounding quality when things come crumbling down, resulting in an intimate, enormous, urgent political portrait of speaking truth to power, and speaking it together.
    • 94 Metascore
    • 100 Siddhant Adlakha
    Blue Heron
    It’s a film that seldom comes out and tells you exactly what’s happening, but its drama is so lucid that before any real tragedy unfolds (or is even hinted at), you feel it in your bones.
    • 85 Metascore
    • 90 Siddhant Adlakha
    Homebound
    It’s a film of great tragedy, but one so rooted in beating humanity that you can’t help but be left furious, in addition to teary-eyed.
    • 85 Metascore
    • 88 Siddhant Adlakha
    My Father's Shadow
    From its gentle introduction to its jarring final scene—a lifelike anticlimax that makes sense spiritually more than logistically—My Father’s Shadow acts as both a retrospective and a soulful reconstruction, breathing life into the past while distinguishing the personal and pragmatic details that inform the complexity of a person—even one who exists entirely in memory.
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