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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    • 84 Metascore
    • 100 Siddhant Adlakha
    Intercepted
    It isn’t interested in finding a bright side to war; such an outcome would feel too complacent. Instead, it points its microphone unflinchingly at the darkest parts of the human soul, while forcing the viewer to hold the camera and search for the brutality within its images and empty spaces. It makes the audience, and their recognition, a necessary ingredient to portraying the bigger picture.
    • 78 Metascore
    • 100 Siddhant Adlakha
    An Unfinished Film
    By entwining reality with dramatization to such an inseparable degree, An Unfinished Film runs the emotional gamut, with a pulsing naturalism that few films about the recent pandemic (or any real disasters) have ever managed to achieve.
    • 92 Metascore
    • 100 Siddhant Adlakha
    BLKNWS: Terms & Conditions
    The film isn’t just richly textured, but rigorous in its unveiling of both history and modernity.
    • 90 Metascore
    • 100 Siddhant Adlakha
    Oppenheimer
    A full-tilt biopic unlike any before it, Christopher Nolan’s Oppenheimer is as stunning as it is terrifying.
    • 83 Metascore
    • 100 Siddhant Adlakha
    Meeting with Pol Pot
    The result is a hauntingly timeless depiction of power and its mechanisms, filtered down to an intimate tale of journalistic integrity.
    • 64 Metascore
    • 100 Siddhant Adlakha
    Babysitter
    An unhinged work that captures the escalating madness of untangling entire social webs through the lens of a single person or event, Babysitter charges through the ruins of mainstream cinema’s post-#MeToo moment.
    • 68 Metascore
    • 100 Siddhant Adlakha
    Matt and Mara
    Radwanski’s Toronto-set story isn’t quite a linear, didactic affair drama either, but rather, uses its characters as points of rumination on the present, and its fragile nature, embodied by two people with a complicated past and, most likely, no real future.
    • 83 Metascore
    • 100 Siddhant Adlakha
    RRR
    S.S. Rajamouli’s RRR is a dazzling work of historical fiction — emphasis on the “fiction” — that makes the moving image feel intimate and enormous all at once.
    • 90 Metascore
    • 100 Siddhant Adlakha
    Sound of Falling
    By focusing on characters who can seldom put words to their experiences—whether the ravages of war and trauma, the jealousies of adolescence, or the desire to simply no longer exist—Sound of Falling marvelously tells a century’s worth of women’s stories by weaving together the psychological, the physical, and even the spiritual, resulting in a dramatic tour de force of mind, body, and soul.
    • 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.
    • 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.
    • 78 Metascore
    • 100 Siddhant Adlakha
    The Remarkable Life of Ibelin
    With whip-smart filmmaking that weaves together the physical and digital worlds, Ibelin is powerful cinema that uses its stylistic experimentation for distinctly humanist means, breathing life into a person’s story when it seemed like there were few dimensions left to explore.
    • 75 Metascore
    • 100 Siddhant Adlakha
    Titane
    Strange, frequently haunting, occasionally hilarious and ultimately masterful, Titane is a journey whose head-spinning complications are a vital part of its emotional impact.
    • 82 Metascore
    • 100 Siddhant Adlakha
    Nocturnes
    Its meditative, hyper-fixated approach to process — as seen through the eyes of seasoned lepidopterists — proves so hypnotic that any appeals or augments the movie makes are deeply felt before they’re intellectually understood.
    • 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.
    • 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.
    • 91 Metascore
    • 100 Siddhant Adlakha
    Flee
    An unfortunately timely film, Flee uses animation primarily to sharpen the dangerous edges of its refugee story, and to capture the devastating physical and emotional toll of never-ending war. But in brief moments, the film acts as a spiritual balm, offering hints and possibilities of a world where Nawabi might one day be able to fully share himself with other people.
    • 88 Metascore
    • 100 Siddhant Adlakha
    The Father
    The Father is a devastating masterwork by first-time director Florian Zeller.
    • 87 Metascore
    • 91 Siddhant Adlakha
    A Night of Knowing Nothing
    This combination of lively image and mournful narration imbues the camera’s fly-on-the-wall perspective with a sense of melancholy. As life unfolds with verve and passion, the spectral narrator, L, exists at a remove, as if she were both present amidst the frolic, and distant from it, her heartbreak leaving her unable to get involved.
    • 64 Metascore
    • 90 Siddhant Adlakha
    Kinds of Kindness
    Yorgos Lanthimos returns to his days of nasty absurdism, with three vicious, amusing stories about love and obsession. The recurring ensemble, led by Emma Stone and Jesse Plemmons, delivers a showcase of versatility in which they meet the director on his peculiar wavelength, leading to nearly 3 hours of unsettling fun.
    • 72 Metascore
    • 90 Siddhant Adlakha
    Society of the Snow
    Bayona’s approach to the “triumph of the human spirit” arc — often a broad, four-quadrant, feel-good cinematic flattening of real events — is both scrutinous and rigorous. It turns the concept inside out, presenting the ordeal of 571’s survivors as a murky scenario that we’ve been granted secret, intimate access to.
    • 52 Metascore
    • 90 Siddhant Adlakha
    Parthenope
    Parthenope is a film that rumbles with the hum of nostalgia, recapturing the feeling of youthful, summer freedom while refusing to shy away from the uncertainties of young adulthood. But it’s no mere coming-of-age story; rather, it’s a film about coming-to-oneself.
    • 77 Metascore
    • 90 Siddhant Adlakha
    Presence
    With a playful camera that rushes through space and embodies a ghostly spirit, Steven Soderbergh’s resourceful haunted house thriller is a midnight genre romp.
    • 85 Metascore
    • 90 Siddhant Adlakha
    West Side Story
    Steven Spielberg’s West Side Story is a dazzling complementary piece to the original.
    • 69 Metascore
    • 90 Siddhant Adlakha
    The Vigil
    Intense and atmospheric, Keith Thomas’ The Vigil invigorates demonic horror by centering on Jewish traditions, especially those concerning death. Part haunted house, part tech thriller, and entirely grounded by Dave Davis’ harrowing performance, the film never loses sight of questions of cultural identity, and the ways it intersects with personal and collective trauma.
    • 91 Metascore
    • 90 Siddhant Adlakha
    The Worst Person in the World
    The Worst Person in the World is a concentrated emotional dose of living through the last half-decade of uncertainty.
    • 74 Metascore
    • 90 Siddhant Adlakha
    Jackass Forever
    The fourth (and hopefully final, for the sake of its cast) Jackass is a nostalgic laugh riot.
    • 82 Metascore
    • 90 Siddhant Adlakha
    Vulcanizadora
    By the time its end credits roll, Vulcanizadora proves surprisingly moving in its depiction of mid-life crises and of two men who feel so betrayed by the world (and by their own actions) that they see no escape from their malaise. To turn that feeling into coherent drama is hard enough.
    • 82 Metascore
    • 90 Siddhant Adlakha
    Challengers
    A film that volleys back and forth in time, Luca Guadagnino's Challengers builds the relationships between its leading tennis trio in exciting and exacting ways. Enhanced by layered physical performances from Mike Faist, Zendaya, and Josh O'Connor, the result is one of the sexiest and most electric dramas of 2024.
    • 78 Metascore
    • 90 Siddhant Adlakha
    After Yang
    With melancholy performances and an eye for natural beauty, Kogonada’s second feature film draws from masters of the past to create a glowing and moving future.
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