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Truthdig

Truthdig is not a Tomatometer-approved publication. Reviews from this publication only count toward the Tomatometer® when written by the following Tomatometer-approved critic(s): Carrie Rickey, Jordan Riefe, Richard Schickel, Siddhant Adlakha.

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Rating Title | Year Author Quote
All That's Left of You (2025) Siddhant Adlakha Sheds its didacticism to become a harrowing multigenerational tale of a Palestinian family’s nakbas.
Posted Jan 09, 2026  Edit critic review
Cover-Up (2025) Siddhant Adlakha At turns reverential and critical.
Posted Dec 18, 2025  Edit critic review
Sirāt (2025) Siddhant Adlakha Few films this year have felt so consistently foreboding.
Posted Nov 16, 2025  Edit critic review
Israel Palestine on Swedish TV 1958-1989 (2024) Siddhant Adlakha Olsson has produced one of the most complete cinematic documents about a political conflict in recent memory.
Posted Oct 16, 2025  Edit critic review
One Battle After Another (2025) Siddhant Adlakha A collision of intimacy and bombast, Anderson’s “One Battle After Another” is the rare American studio film that captures the revolutionary spirit, balancing energizing tableaus of rebellion with sobering realities about who and what is at stake.
Posted Sep 19, 2025  Edit critic review
Dreams (2024) Siddhant Adlakha A coming-of-age story that feels like something genuinely new in nouveau queer cinema.
Posted Sep 10, 2025  Edit critic review
Sanatorium under the Sign of the Hourglass (2024) Siddhant Adlakha In the Quays’ lucid cinematic dream world, nightmares are populated by dead-eyed dolls placed at the brink of their own demise, forced to confront the human condition, in all its mystery and horrific beauty.
Posted Sep 03, 2025  Edit critic review
East of Wall (2025) Siddhant Adlakha A corrective to the [western's] mythmaking, told in naturalistic hues that blur the boundaries of drama and documentary
Posted Aug 20, 2025  Edit critic review
By the Stream (2024) Siddhant Adlakha Subverts the confessional nature of [Hong's] recent work. The narrative — a straightforward tale of university students putting on a stage play — smuggles an inside-out analysis of Hong and Kim’s public controversy in the form of dramatic introspection
Posted Aug 08, 2025  Edit critic review
Apocalypse in the Tropics (2024) Siddhant Adlakha Tackles the politics of Brazilian evangelicalism with tools redolent of a true crime story. But for all of its forensic analysis, it falls dispiritingly short of a hard-boiled exposé, failing to interrogate its underlying mechanics and visceral allure.
Posted Jul 17, 2025  Edit critic review
Sex (2024) Siddhant Adlakha A wryly conceived tale of masculinity in crisis
Posted Jul 09, 2025  Edit critic review
Love (2024) Siddhant Adlakha The movie’s conversational nature makes for a deceptively comforting watch, aided by Haugerud and cinematographer Cecilie Semec casual visual approach, in which dialogue dictates the movie’s rhythm.
Posted Jul 09, 2025  Edit critic review
Emergent City (2024) Siddhant Adlakha The filmmakers use techniques normally meant to transition between scenes, but they hold on these shots instead of cutting away, turning them into a central focus.
Posted Jul 08, 2025  Edit critic review
Sorry, Baby (2025) Siddhant Adlakha Tackles uncomfortable material with self-effacing humor, confident wit and a compassionate cinematic eye for how the body keeps the score.
Posted Jun 26, 2025  Edit critic review
It Was Just an Accident (2025) Siddhant Adlakha Captures the difficult process of looking for places to direct one’s anger as it festers — even when it might seem futile. Ultimately, it paints this sense of defeat as a necessary aspect of living under authoritarianism, and eventually, outliving it.
Posted May 28, 2025  Edit critic review
A Normal Family (2023) Siddhant Adlakha In streamlining the novel’s structure, Hur ends up taking a considerable amount of time to illuminate its central drama
Posted Apr 25, 2025  Edit critic review
The Empire (2024) Siddhant Adlakha Picture a version of the esoteric sci-fi masterpiece “2001: A Space Odyssey” made after a cartoon anvil has landed on Stanley Kubrick’s head, causing animated canaries to circle overhead. The resulting film would probably look a lot like “L’Empire.”
Posted Mar 06, 2025  Edit critic review
I'm Still Here (2024) Siddhant Adlakha With Torres’ measured performance as its backbone — an embodiment of moral fortitude, she gracefully treads a tightrope between hope and anguish — the film is peppered with hints of shattering grief.
Posted Feb 03, 2025  Edit critic review
Red Rooms (2023) Siddhant Adlakha The oblique courtroom thriller offers chilling reflections on the rise of obsessive true crime fan culture.
Posted Feb 03, 2025  Edit critic review
The Seed of the Sacred Fig (2024) Siddhant Adlakha Rasoulof finds cathartic ways to sublimate his and the viewer’s anger into something politically poignant: a bone-deep understanding of the way power, and the struggles against it, trickle down through every fabric of society
Posted Jan 04, 2025  Edit critic review
Dahomey (2024) Siddhant Adlakha A cinematic act of defiance, not just against the abuse of collective memory, but against the modern museum and even modern notions of art.
Posted Oct 27, 2024  Edit critic review
Anora (2024) Siddhant Adlakha Sean Baker has long blurred the line between fairytale and American neorealism... [Anora takes his] signature blend of genres and modalities to dizzying new heights.
Posted Oct 17, 2024  Edit critic review
Rumours (2024) Siddhant Adlakha Theater of the absurd meets the cinema of high fantasy... builds into an increasingly bizarre, razor-sharp satire of the fearful, status-quo-oriented elites running seven of the world’s biggest economies.
Posted Oct 09, 2024  Edit critic review
Lee (2023) Siddhant Adlakha A by-the-numbers biopic that manages to flatten Miller’s life and work in equal measure.
Posted Oct 02, 2024  Edit critic review
Kneecap (2024) Siddhant Adlakha Every aesthetic detail feels enhanced by the trio’s punk sensibility and raucous, Cypress Hill-meets-techno sound, down to the movie’s framing and editing.
Posted Aug 07, 2024  Edit critic review
Hollywoodgate (2023) Siddhant Adlakha Displays a misguided fealty to Nash’at’s footage, treating it as the only important puzzle piece in a much larger picture.
Posted Jul 18, 2024  Edit critic review
Green Border (2023) Siddhant Adlakha An unflinchingly political work. Yelds genuine anguish in a way few films can.
Posted Jun 13, 2024  Edit critic review
Soundtrack to a Coup d'État (2024) Siddhant Adlakha Despite a breadth of factual detail and archival reference, “Soundtrack to a Coup d’État” feels loose, snappy, free-flowing, almost improvised. A cinematic translation of jazz.
Posted Jan 24, 2024  Edit critic review
Occupied City (2023) Siddhant Adlakha A demanding and haunting rumination on the passage of time and the nature of cultural memory.
Posted Jan 19, 2024  Edit critic review
Anselm (2023) Siddhant Adlakha If Wenders’ homage to Ozu Yasujiro from earlier this year, the drama “Perfect Days,” is the director’s most sentimental work, then “Anselm” contends for his most haunting.
Posted Dec 15, 2023  Edit critic review
Snow Leopard (2023) Siddhant Adlakha It’s a striking final vision with which Tseden leaves us: a place that embodies an understanding, or perhaps even a latent human desire, to live in harmony with nature
Posted Oct 12, 2023  Edit critic review
El Conde (2023) Siddhant Adlakha It is a satirical premise with the potential to be incisive, but lacks the necessary bite. Larraín refuses to let his narrative ideas play out in ways that are amusing or cathartic.
Posted Sep 10, 2023  Edit critic review
Family Portrait (2023) Siddhant Adlakha A deeply unsettling directorial debut, “Family Portrait” foregrounds lingering discomfort against a comfortable backdrop, and enhances its unspoken anxieties by poking and prodding at its protagonist.
Posted Aug 19, 2023  Edit critic review
While We Watched (2022) Siddhant Adlakha “While We Watched” does more than depict media complicity in a country’s plummet into fascist violence. It re-creates the sensation of this descent, while painting a vivid portrait of someone with the nerve to question it.
Posted Aug 04, 2023  Edit critic review
A Woman Escapes (2022) Siddhant Adlakha The film is as much a lament for old friends as it is for old mediums and technologies, laying them lovingly to rest, but it also embodies the steady absorption of the human psyche into the cinematic.
Posted Jul 15, 2023  Edit critic review
Stan Lee (2023) Siddhant Adlakha A work of rote and gaudy self-promotion that fails to be effective or interesting even on its own terms.
Posted Jun 23, 2023  Edit critic review
Close Your Eyes (2023) Siddhant Adlakha Pervading despondency helps make “Close Your Eyes” one of the most powerful films this year, propelling it into the upper echelons of modern arthouse cinema, with a small scale that never prevents it from feeling emotionally enormous
Posted Jun 07, 2023  Edit critic review
The Old Oak (2023) Siddhant Adlakha Rather than show you what solidarity looks like, Loach lets you in on what it feels like. The result is one of his most moving films, a presentation of the world not as Loach thinks it should be, but as it might and can become.
Posted Jun 06, 2023  Edit critic review
In Flames (2023) Siddhant Adlakha “In Flames” is as exciting in its technical proficiency as it is unsettling in its visceral impact — an ingenious use of the horror genre to unearth the vicious subtext of a patriarchal society.
Posted Jun 01, 2023  Edit critic review
The Zone of Interest (2023) Siddhant Adlakha The misalignment between the film’s images and sounds is uniquely haunting.
Posted May 23, 2023  Edit critic review
R.M.N. (2022) Siddhant Adlakha A methodical and piercing examination of the mechanics of xenophobia — deployed with heart-wrenching precision.
Posted Apr 28, 2023  Edit critic review
How to Blow Up a Pipeline (2022) Siddhant Adlakha Director Daniel Goldhaber is adept at creating momentum, but demonstrates a perplexing failure to maintain it, thanks to a structure that combines a slow burn character drama and adrenaline-fueled action in a way that forces each to step on the other.
Posted Apr 06, 2023  Edit critic review
The Blind Man Who Did Not Want to See Titanic (2021) Siddhant Adlakha There are few moments when the camera isn’t affixed to Poikolainen’s expressive countenance. The rest of the physical world fades out of focus, yielding a magnetic form of experiential cinema that becomes downright heart-pounding.
Posted Mar 13, 2023  Edit critic review
Ant-Man and The Wasp: Quantumania (2023) Siddhant Adlakha Viewers old enough to understand even rudimentary narratives deserve better than a handful of scattered laughs and a great deal of visual unpleasantness.
Posted Feb 14, 2023  Edit critic review
The Tuba Thieves (2023) Siddhant Adlakha By its nature both radical and frustrating. Its approach to cinematic language is entirely at odds with how one might even interpret an on-screen “story." The result isn’t just hearing in new ways, but truly listening to what’s being said.
Posted Jan 24, 2023  Edit critic review
No Bears (2022) Siddhant Adlakha Self-reflexivity has become a key fixture of [Panahi's] work, and by turning the camera on himself, he exposes surprising vulnerabilities. There is courage in centering himself as the object of his dissident gaze, as well as an element of self-criticism.
Posted Dec 16, 2022  Edit critic review
Aftersun (2022) Siddhant Adlakha Wells’ use of visual texture doesn’t just help capture her story. It resonates through that story in all directions, echoing through the medium itself, as if to turn the camera back on the nature of images, and the way we perceive them.
Posted Dec 08, 2022  Edit critic review
Triangle of Sadness (2022) Siddhant Adlakha “Triangle of Sadness” completes Östlund’s triptych about men and money, but with a third act that feels like a minor deflation, dialing down the film’s absurdities in favor of more literal and didactic extrications.
Posted Nov 18, 2022  Edit critic review
Riotsville, USA (2022) Siddhant Adlakha Riotsville, U.S.A., despite the rich material it had to work with, fails to capture the enormity of its implications.
Posted Nov 01, 2022  Edit critic review
The Hunt (2020) Jordan Riefe The ending only underscores the film's overall deficiency: a lack of imagination.
Posted Mar 13, 2020  Edit critic review
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