Siddhant Adlakha
Siddhant Adlakha is a film critic and entertainment journalist originally from Mumbai. He currently resides in New York, and is a member of the New York Film Critics Circle.
Latest From Siddhant Adlakha
'Opus' review: Ayo Edebiri and John Malkovich face off in offbeat thriller
A24 tackles the cult of celebrity.
How 'Dark Match' blends wrestling, horror, and satanic cults
"This is a fun movie, first and foremost, and it's visually absurd."
By Mark Stetson and Siddhant Adlakha
'Kiss of the Spider Woman' review: Jennifer Lopez dazzles, but is that enough?
"Dream Girls" director Bill Condon returns with a daring movie musical.
'Peter Hujar's Day' review: Ira Sachs gently brings 1970s New York to life through a dramatic experiment
Ben Whishaw and Rebecca Hall co-star in this buzzy Sundance fave.
'Sing Sing' review: Colman Domingo delivers in prison-set friendship drama
A24 offers a powerful work of community storytelling.
'Jimpa' review: Does Sundance's buzzed-about queer family drama live up to the hype?
Sophie Hyde’s semi-autobiographical saga takes a blinkered approach to personal and cultural history.
'If I Had Legs, I'd Kick You' review: Rose Byrne stuns in nauseating thrill ride about motherhood
Conan O’Brien, A$AP Rocky, and Danielle Macdonald co-star in Mary Bronstein’s audacious anxiety nightmare.
What drives John Cena? The 'What Drives You' host speaks out
The new Roku series features Logan Paul, Jelly Roll, The Miz, and more.
'September 5' review: a blinkered, noncommittal thriller about an Olympic hostage crisis
Who knew a film about news coverage of Israel and Palestine could be so tepid?
‘Grand Theft Hamlet’ review: 'Grand Theft Auto' meets Shakespeare in hilarious, moving doc
Putting the "grand" in "Grand Theft Auto."
'The Last Showgirl' review: Pamela Anderson leads a shattering ensemble as an aging burlesque entertainer
Vegas plays home to Gia Coppola's powerful work of meta-textual casting.
'Hard Truths' review: Mike Leigh explores deep-seated anguish through darkly funny realism
Marianne Jean-Baptiste delivers a knockout performance as a woman on the verge of oblivion.
'Look Into My Eyes' review: A24's doc breathes meaning into psychics
A self-reflexive film that yields catharsis, whether or not you believe its psychic subjects.
'American Primeval' review: Can Netflix's grimy Western mini-series best 'Yellowstone'?
Familiar beats filtered through chaos and nihilism.
2025's biggest movie anniversaries: 'Jaws' to 'Batman Begins' and beyond
Brace yourself. Some of these are gonna hurt.
'The Fire Inside' review: A boxing biopic whose punches don't always land
Rachel Morrison's feature-length debut nearly turns a real-life story of sport and circumstance into something worthwhile.
'Juror #2' review: Clint Eastwood's masterful Hollywood throwback
Part homage, part inquiry, and entirely enthralling.
'The Brutalist' review: A modern American masterpiece
Brady Corbet crafts a towering achievement about immigrants, architecture, and Jewish identity.
'The Six Triple Eight' review: Kerry Washington rescues Tyler Perry's war drama
Netflix delivers a World War II tale of a battalion of Black heroines.
'Nickel Boys' review: A masterful work of friendship, violence, and memory
One of Hollywood's finest literary adaptations is the result of elliptical editing and a first-person POV.
'The Girl with the Needle' review: Denmark's Oscar entry is a haunting true crime period piece
Rigorous drama meets real history through narrative sleight of hand.
'Maria' review: Angelina Jolie sets an opera biopic ablaze
A towering, career-defining performance from a woman who knows the spotlight all too well.
'Oh, Canada' review: Paul Schrader's latest is his most personal work
Richard Gere delivers a towering performance as a documentarian with one foot in the grave.
'The Order' review: Jude Law goes freak mode while chasing neo-Nazis
The true story of a white supremacist cult allows "Assassin's Creed" director Justin Kurzel to fine-tune his approach.
'The Piano Lesson' review: A stage adaptation makes powerful use of cinematic form
Malcolm Washington goes beyond the edges of August Wilson's Pittsburgh drama.
