Siddhant Adlakha

1 week ago | variety.com | Siddhant Adlakha

There’s no denying that Takashi Miike’s “Sham” is dramatically effective. However, it may be one of the rare courtroom thrillers that is, at times, too effective for its own good. One would think there’s no such thing, but the movie’s engrossing visual and tonal language is all about seeding doubt, a promise on which Miike over-delivers, resulting in a tale that remains in morally gray territory long after it means to.

1 week ago | joysauce.com | Siddhant Adlakha

The initial premise is filled with bittersweet moments, between Olga’s attempts to connect with her grieving nephew, and Elio trying to signal extraterrestrials with everything from radio equipment to messages scribbled in the sand. As it happens, there is in fact life in outer space, and Elio is the first one to send them a message, resulting in him being abducted from a nearby summer camp.

1 week ago | inverse.com | Siddhant Adlakha

Ask 12 people the purpose of science fiction and you’ll get 13 different answers, but two likely agreed-upon definitions are ever-present in 28 Years Later. The first is to reflect contemporary anxieties — which a story of a deadly virus is sure to do just five years removed from the COVID-19 breakout. The second is to show us things we’ve never seen before, and it may surprise you to learn just how much Danny Boyle’s entertaining, poignant, seemingly grounded zombie sequel adheres to this tenet.

1 week ago | variety.com | Siddhant Adlakha

Set in smalltown western India, Uttera Singh’s directorial debut “Pinch” (in which the writer-director also stars) unfolds with propulsive rhythms and a bleakly humorous tone. Its subject matter — a young woman dealing with being sexually assaulted by an older neighbor and family friend — ought not to make for raucous subject matter. However, Singh commands both sides of the camera with confidence, even if her storytelling veers toward tying too neat a bow on discomforting material.

1 week ago | observer.com | Siddhant Adlakha

Dylan O’Brien and James Sweeney in Twinless. Greg Cotten/Courtesy of Sundance InstituteThe indignities of grief take center stage in James Sweeney’s touching, hilarious and eventually enthralling Twinless. The movie opens with a character in mourning, the short-tempered Roman (Dylan O’Brien), having to endure numerous strangers telling him how much he reminds them of his late twin brother Rocky, who dies in a car accident off-screen.