Siddhant Adlakha

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IGN, IndieWire, Observer, Polygon, Variety
For 352 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: 223 out of 352
  2. Mixed: 111 out of 352
  3. Negative: 18 out of 352
352 movie reviews
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    • 59 Metascore
    • 50 Siddhant Adlakha
    Springsteen: Deliver Me from Nowhere
    The first and final scenes of any film are vital, and contained within these bookends you can find the entire story of Springsteen: Deliver Me From Nowhere. Unfortunately, nearly everything in between is standard biopic filler and reinforces filmmaker Scott Cooper’s unique position in the Hollywood landscape: he’s a tremendous director of actors and quite unremarkable at most other parts of the job.
    • 65 Metascore
    • 50 Siddhant Adlakha
    Operation Mincemeat
    Operation Mincemeat turns an absurd chapter in World War II history into a dour homework assignment.
    • 68 Metascore
    • 50 Siddhant Adlakha
    The Water Man
    Despite the powerful child performance at its center, David Oyelowo’s The Water Man struggles to focus on more than one narrative or visual idea at a time.
    • 71 Metascore
    • 50 Siddhant Adlakha
    Blitz
    Blitz's piercing sound design can't make up for its bloodless depiction of World War II, its scattered sense of place, and its saccharine approach to overcoming racial hostility. Saoirse Ronan is captivating in the role of a single white mother to a defiant Black son trying to make his way back home, but the movie can't seem to balance her talents with its own timeline.
    • 51 Metascore
    • 50 Siddhant Adlakha
    Whitney Houston: I Wanna Dance With Somebody
    Whitney Houston: I Wanna Dance With Somebody is yet another music biopic that feels like a checklist of events rather than riveting drama.
    • 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.
    • 53 Metascore
    • 50 Siddhant Adlakha
    Inside
    Despite a stellar performance from Willem Dafoe as a contemplative art thief, Inside lacks the smarts and visual panache to make good use of its single location.
    • 65 Metascore
    • 50 Siddhant Adlakha
    Men
    Men, from Ex Machina and Annihilation director Alex Garland, is a folk-horror movie about gendered trauma that quickly falls apart. It skillfully builds tension in its first half — with the help of brilliant lead performances — only to have that tension dissipate when its inventive metaphors become consumed by traditional staging and literal explanations.
    • 64 Metascore
    • 50 Siddhant Adlakha
    The Queen of My Dreams
    It does little to separate itself, thematically or stylistically, from a now repetitive form of “third culture” storytelling.
    • 52 Metascore
    • 50 Siddhant Adlakha
    After the Hunt
    The star-studded After the Hunt has a lot on its mind about human complexities, but largely expresses these notions in didactic form and through dramatic conflict that all but resolves itself halfway through the movie’s languid 2 hours and 18 minutes.
    • 72 Metascore
    • 50 Siddhant Adlakha
    The Color Purple
    The Color Purple strands a passionate cast in a passionless movie musical that’s eager to skip to the end.
    • 53 Metascore
    • 50 Siddhant Adlakha
    Malcolm & Marie
    Malcolm & Marie is a well-acted but frustrating exploration of art and bad romance.
    • 56 Metascore
    • 50 Siddhant Adlakha
    Crush
    Hulu’s Crush is a queer coming-of-age movie in which very little happens, and whose characters barely exist outside of their joking lines of dialogue. Its young actors are a delight, but even as a story of teenage crushes, it rarely captures what it feels like to be young and in love.
    • 69 Metascore
    • 50 Siddhant Adlakha
    Moulin
    It’s a gorgeous-looking film, but one that doesn’t go anywhere anytime soon, given the linearity and literal nature of its approach to human anguish. At over two hours in length, its points are made with clarity before being repeated ad nauseam.
    • 36 Metascore
    • 50 Siddhant Adlakha
    Demonic
    Demonic promises a fun and fascinating premise, but its scattered pieces barely coalesce.
    • 52 Metascore
    • 50 Siddhant Adlakha
    Despicable Me 4
    Less of a movie and more of a series of non sequiturs, Despicable Me 4 is a Minions showcase interrupted by Gru and his family.
    • 39 Metascore
    • 50 Siddhant Adlakha
    Here
    A one-angle drama spanning centuries, Robert Zemeckis' comic adaptation Here is experimental in appearance, but highly conventional in approach.
    • 66 Metascore
    • 50 Siddhant Adlakha
    Mountainhead
    It’s morally upstanding but dramatically dull, without any of the allure or excitement that made Armstrong’s Succession series such a smashing success.
    • 64 Metascore
    • 50 Siddhant Adlakha
    MaXXXine
    Mia Goth shines as usual, and Ti West's third slasher entry feels more visually polished than its predecessors, but it's also more dramatically sterile, thanks to a story that quickly falls apart and mounting references that add up to very little (if anything at all).
    • 51 Metascore
    • 50 Siddhant Adlakha
    Death of a Unicorn
    Death of a Unicorn features fun fantasy ideas, but suffers from repetitive execution.
    • 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.
    • 49 Metascore
    • 50 Siddhant Adlakha
    The Gray Man
    An impression of much better action films, spy thriller The Gray Man (directed by Joe & Anthony Russo) wastes its all-star cast by giving them little to work with beyond quips. While it eventually becomes watchable, it spends most of its runtime being visually and emotionally indecipherable.
    • 70 Metascore
    • 50 Siddhant Adlakha
    Monkey Man
    Dev Patel’s diehard sincerity clashes with unwieldy religious imagery in an India-set revenge saga whose tepid action scenes fail to make up for its muddled politics.
    • 76 Metascore
    • 50 Siddhant Adlakha
    Pearl
    From its anachronistic homages to its tensionless filmmaking, Pearl — Ti West’s prequel to X — doesn’t have nearly as much to say as its predecessor. Mia Goth gives it her all as a villainess who dreams of stardom, but the film can’t decide what to do with her.
    • 60 Metascore
    • 50 Siddhant Adlakha
    The Killer
    It has no soul or style, and creates no sense of chemistry between lead actors Omar Sy and Nathalie Emmanuel. They try their best to fill the movie's dead air with charm and anguish. Unfortunately, their best isn't enough.
    • 56 Metascore
    • 50 Siddhant Adlakha
    Minions: The Rise of Gru
    Minions: The Rise of Gru is more Minion compilation than Gru prequel. It wastes its fun ideas and comedic setups in favor of disconnected slapstick gags, which may delight the diaper-wearing crowd, but will end up a chore to anyone forced to comprehend its inert dramatic scenes and ’70s pop culture references.
    • 57 Metascore
    • 50 Siddhant Adlakha
    Rabbit Trap
    The film’s barely-hidden secrets float just beneath the surface of a pool with no ripples — without meaningful texture to complicate or disguise its themes, or turn their unveiling into an emotionally-driven experience.
    • 72 Metascore
    • 45 Siddhant Adlakha
    Ammonite
    Whether strictly factual or broadly truthful in a poetic sense, its approach to queer history as coded, long-buried document is its most exacting facet. But as a story of science, hidden desire, and sparks re-igniting the soul, it’s a languid affair.
    • 66 Metascore
    • 42 Siddhant Adlakha
    Breaking
    It has so many things it wants to say about the state of modern America, but it finds no suitable or impactful way to say them.
    • 47 Metascore
    • 42 Siddhant Adlakha
    Sonic the Hedgehog 2
    It’s visual soup where nothing pops or stands out. Almost nothing anyone does or says feels rooted in recognizable character traits, and despite Marsden’s most sincere efforts, he finds himself once again unable to meet Sonic’s eye-line (a production kerfuffle that would be funny, were it not also another reminder of VFX crunch).
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