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Gadgets360

Gadgets360 is not a Tomatometer-approved publication. Reviews from this publication only count toward the Tomatometer® when written by the following Tomatometer-approved critic(s): Akhil Arora.

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Rating Title | Year Author Quote
Aftersun (2022) Akhil Arora [There] are gaps in Aftersun that are left to the audience. [… Charlotte] Wells has a keen eye for detail and feelings, one she uses to build moment upon moment into a towering emotional crescendo.
Posted Feb 17, 2023  Edit critic review
Hit the Road (2021) Akhil Arora As the answers slowly come into focus — the family is travelling through rural Iran towards the border — Hit the Road transforms from a light-hearted, funny road movie into a heart-breaking multi-tragedy.
Posted Feb 17, 2023  Edit critic review
The Banshees of Inisherin (2022) Akhil Arora Martin McDonagh paints a devastating portrait of men in general. The stupid in-fighting, the self-sabotage, and the endless quarrelling — instead of spending their lives doing something valuable for themselves and those around them.
Posted Feb 17, 2023  Edit critic review
Navalny (2022) Akhil Arora [Navalny] tries to figure out who exactly was involved, leading to one of the most harrowing and thrilling sting operation calls ever recorded on camera. It's also very funny, only if to see the sheer incompetence of those that tried to kill him.
Posted Feb 17, 2023  Edit critic review
Everything Everywhere All at Once (2022) Akhil Arora [Gives] us dildo fights, raccoon chefs, hot-dog hands, and muscular pinky fingers. In one of the film's best action scenes, [we have] a fanny pack. [Elsewhere,] two rocks with googly eyes share their deepest fears and comfort each other.
Posted Feb 17, 2023  Edit critic review
Tár (2022) Akhil Arora Blanchett is at her best in Tár, with … Todd Field … hanging on her face in nearly every scene of the film. As the ugliness builds up, with Tár desperately trying to regain the sense of control she craves, it's impossible to look away from her.
Posted Feb 17, 2023  Edit critic review
Decision to Leave (2022) Akhil Arora Park Chan-wook gives us the most romantic movie of 2022, about insomniac homicide detective Jang Hae-jun (Park Hae-il) who becomes obsessed with caregiver and potential mariticide candidate Song Seo-rae (Tang Wei).
Posted Feb 17, 2023  Edit critic review
Happening (2021) Akhil Arora [Never] gives into the powerful didactic or melodramatic forces … with director Audrey Diwan retaining a measured, unflinching focus. That carries over into [Anamaria] Vartolomei's understated performance.
Posted Feb 17, 2023  Edit critic review
The Quiet Girl (2022) Akhil Arora [A] less-is-more approach is of immense benefit for The Quiet Girl, because when its deepest moments do arrive ... they hit that much harder. And it wraps in the most winning fashion, with the quiet girl realising the value of what she had found.
Posted Feb 17, 2023  Edit critic review
Avatar: The Way of Water (2022) Akhil Arora For portions of that concluding stretch, Cameron's embrace of technology meets his Terminator 2 heyday, washing over you in ways that are almost enough to make you look past the film's flaws.
Posted Dec 15, 2022  Edit critic review
Black Panther: Wakanda Forever (2022) Akhil Arora Wakanda Forever is ... unable to hammer home its themes in a meaningful and resonant way like the original managed to. Ultimately, it's too much like standard Marvel fare.
Posted Nov 11, 2022  Edit critic review
Werewolf by Night (2022) Akhil Arora Marvel tries a new avenue, but it seems too afraid to jump in with both feet.
Posted Oct 07, 2022  Edit critic review
The Gray Man (2022) Akhil Arora The Gray Man strips the best qualities of everyone involved — there's a lack of personality to the filmmaking, and it's big for the sake of being big — leaving behind a tasteless pudding that reeks of a cashgrab.
Posted Aug 10, 2022  Edit critic review
Bullet Train (2022) Akhil Arora With a whitewashed and underused cast [...] and humour that needed more time in the oven, Bullet Train fails most of its accompaniments. And [David] Leitch has shown that he doesn't know what makes good action for the third time in a row.
Posted Aug 10, 2022  Edit critic review
Darlings (2022) Akhil Arora More a comedy of errors than the black comedy revenge thriller it desires to be.
Posted Aug 10, 2022  Edit critic review
Love Goals (2022) Akhil Arora [Jitendra] Kumar plays a creep whose behaviour is repeatedly excused by this old Bollywood movie.
Posted Jul 19, 2022  Edit critic review
Thor: Love and Thunder (2022) Akhil Arora Thor: Love and Thunder suffers from narrative gaps, wild tonal imbalances, and weightlessness. More importantly, it under-utilises nearly every actor and character at its disposal.
Posted Jul 07, 2022  Edit critic review
Jurassic World Dominion (2022) Akhil Arora But the much bigger crime that Jurassic World Dominion commits is in (largely) abandoning the potential of [the fact that dinosaurs are now amongst us].
Posted Jun 10, 2022  Edit critic review
Top Gun: Maverick (2022) Akhil Arora What the new Top Gun movie does well to depict though is the TOPGUN stuff. Not only do [Joseph] Kosinski and Co. have a grip on the action and how it's put together, there's an undercurrent of tension at the root of everything on Top Gun: Maverick.
Posted May 27, 2022  Edit critic review
Doctor Strange in the Multiverse of Madness (2022) Akhil Arora Doctor Strange in the Multiverse of Madness gets lost in its multiverse shenanigans, and forgets that great stories are ultimately about people and their relationships.
Posted May 06, 2022  Edit critic review
Fantastic Beasts: The Secrets of Dumbledore (2022) Akhil Arora I didn't actively hate Fantastic Beasts: The Secrets of Dumbledore like I did the last one. Or maybe it was simply because the bar had been set so low by The Crimes of Grindelwald that there was no way to go but up.
Posted Apr 08, 2022  Edit critic review
The Adam Project (2022) Akhil Arora It's all too rushed for the emotional beats to work. The new Netflix movie slows down long enough only once, and that's probably the best scene. But otherwise, The Adam Project has no chill.
Posted Mar 29, 2022  Edit critic review
Turning Red (2022) Akhil Arora The lack of depth is a sign of Domee Shi struggling to make the big jump from short films to feature-length projects. It's also a blow to Pixar, for Shi is the lone female highlight among its next generation of in-house filmmakers.
Posted Mar 08, 2022  Edit critic review
The Batman (2022) Akhil Arora The Batman both feels like a terrific achievement given the comic book saturated climate we live in, and a disappointment for it struggles to retain its identity and flex more than a few muscles.
Posted Mar 04, 2022  Edit critic review
Gehraiyaan (2022) Akhil Arora Its world is fractured, it's all out of control, and it goes overboard (in one instance, quite literally). Staying through Gehraiyaan's final half hour feels like a severe case of whiplash.
Posted Feb 12, 2022  Edit critic review
Looop Lapeta (2022) Akhil Arora The director Aakash Bhatia doesn't really understand what made Run Lola Run such a cult hit and why it worked so well.
Posted Feb 04, 2022  Edit critic review
The Green Knight (2021) Akhil Arora Always one to re-examine myths from a new perspective, this adaptation of the 14th-century poem "Sir Gawain and the Green Knight" finds writer-director-editor David Lowery looking at legends that formed around medieval knights.
Posted Dec 29, 2021  Edit critic review
Quo Vadis, Aida? (2020) Akhil Arora Quo Vadis, Aida? writer-director Jasmila banić lays out the makings of a genocide. ... More importantly, [it] serves as a reminder of the apathy and evil that humanity is capable of. And it hits even harder given the slippery slope we are on.
Posted Dec 29, 2021  Edit critic review
Petite Maman (2021) Akhil Arora [Petite Maman] is only 72 minutes long, but [Céline] Sciamma packs more life and emotions into it than other directors manage in movies three times as long.
Posted Dec 29, 2021  Edit critic review
There Is No Evil (2020) Akhil Arora [Mohammad] Rasoulof shows how their "work" eats away at them - and what it says about the inescapable world they find themselves in.
Posted Dec 29, 2021  Edit critic review
The Disciple (2020) Akhil Arora The Disciple seems to be Tamhane expressing his own deeper worries and insecurities. The 34-year-old director is one of India's contemporary greats, but local recognition ... alludes him in a masala-obsessed Bollywood-dominated society.
Posted Dec 29, 2021  Edit critic review
Dear Comrades! (2020) Akhil Arora The Dear Comrades! lead runs into the machinery of the government she loved - and witnesses the apathy firsthand. Can't get blood off the streets? Have a party and pour a new layer of asphalt.
Posted Dec 29, 2021  Edit critic review
Spencer (2021) Akhil Arora Spencer director Pablo Larraín lasers in on Diana's (Kristen Stewart) horrid time at the Sandringham estate during the 1991 Christmas, delivering a haunting portrait that's more psychological horror than drama at times.
Posted Dec 29, 2021  Edit critic review
The Power of the Dog (2021) Akhil Arora The Power of the Dog is at once a raw skewering of patriarchy - and its associated facets and how it manifests: power, cruelty, jealousy, manipulation, sexual inhibition, and mockery of anything feminine.
Posted Dec 29, 2021  Edit critic review
Sardar Udham (2021) Akhil Arora Sardar Udham's heart-wrenching final act finds its protagonist using a hand cart as a makeshift stretcher, making countless trips to find and save the injured.
Posted Dec 29, 2021  Edit critic review
Flee (2021) Akhil Arora [At] times reminiscent of Waltz with Bashir ... There is so much life in every corner of this story.
Posted Dec 29, 2021  Edit critic review
Wheel of Fortune and Fantasy (2021) Akhil Arora [A] triptych of stories from Ryusuke Hamaguchi, each better than the one before it.
Posted Dec 29, 2021  Edit critic review
Parallel Mothers (2021) Akhil Arora [Pedro] Almodóvar turns a highly predictable and somewhat-melodramatic plot into a profound exploration of motherhood and the pain it entails.
Posted Dec 29, 2021  Edit critic review
Minnal Murali (2021) Akhil Arora In the hands of a more astute director and with a leaner script that trimmed the fat, Minnal Murali could actually be a decent superhero movie for it had the building blocks.
Posted Dec 24, 2021  Edit critic review
Spider-Man: No Way Home (2021) Akhil Arora [For Peter] Parker, with great power might come great responsibility, but for Hollywood, with great power simply comes more greed.
Posted Dec 16, 2021  Edit critic review
Ghostbusters: Afterlife (2021) Akhil Arora For a series that has produced one okay-good film (the original is dated in some ways) and a bunch of cash-grab sequels/spin-offs that are best forgotten, Ghostbusters has an outsized impact on pop culture.
Posted Nov 18, 2021  Edit critic review
Red Notice (2021) Akhil Arora For Netflix, it's all about the number of subscribers they can pull in, with the combined might of Deadpool, The Rock, and Wonder Woman. Red Notice is a criminal waste of money and everyone's time-except those who got paid $20 million.
Posted Nov 12, 2021  Edit critic review
Eternals (2021) Akhil Arora Zhao unfurls the story of the Eternals on an epic and elaborate stage ... that ends up being a double-edged sword. We get a grandiose mythology ... alongside backstories ... [but] we are never given the time to understand, care for, or connect with them.
Posted Nov 04, 2021  Edit critic review
Dune (2021) Akhil Arora Dune is a herculean effort, but it might also be in vain. [...] Maybe some epics are just better left on the page. Maybe Dune really is "unfilmable", as much as I disagree with that philosophy.
Posted Oct 21, 2021  Edit critic review
Black Widow (2021) Akhil Arora Pugh is the only victory for this vanilla Marvel movie. [...] Fans are left wondering what could have been. And Johansson is left fighting a lawsuit against the world's biggest entertainment behemoth - a mission that seems too much even for Natasha.
Posted Sep 03, 2021  Edit critic review
Shang-Chi and the Legend of the Ten Rings (2021) Akhil Arora Long live Tony Leung and Michelle Yeoh, who make a movie better by just walking into it.
Posted Sep 03, 2021  Edit critic review
F9 The Fast Saga (2021) Akhil Arora Jakob is a self-serious villain and the film treats him seriously too, unlike F9's self-aware and fun-laden approach elsewhere. It's just not the right move. Look to The Suicide Squad and how James Gunn makes better use of [John] Cena.
Posted Sep 02, 2021  Edit critic review
Cruella (2021) Akhil Arora Cruella has the same problem as Game of Thrones' final season. [... It] needed Daenerys to become the antagonist. [Though] Cruella's heel turn isn't as horrible, it's certainly not believable.
Posted Aug 27, 2021  Edit critic review
The Suicide Squad (2021) Akhil Arora [James] Gunn operating with his raw sensibilities and shredding what hasn't worked for him before. [...] Gunn has delivered a zany, gory, crazy adventure at his most unhinged - more than he's allowed to be at Marvel, or he's allowed himself to be.
Posted Aug 06, 2021  Edit critic review
Luca (2021) Akhil Arora Change starts with one person, Luca posits, and it can destroy power structures, foster acceptance, and bring everyone together. In an increasingly isolated world, that's a great message.
Posted Jul 07, 2021  Edit critic review
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