Soham Gadre
Soham Gadre's reviews only count toward the Tomatometer® when published at the following Tomatometer-approved publication(s):
The Film Stage
Film Inquiry
Polygon
The Spool
Screen Slate
Movies reviews only
| Rating | T-Meter | Title | Year | Review |
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Please Baby Please (2022) |
The melodrama and comedy are strikingly modern and with an edge that cuts its roots in Douglas Sirk and Billy Wilder to something strange and surreal, but these things added together don’t coalesce. - Film Inquiry
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| Posted Mar 26, 2023
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Stonewalling (2022) |
Those with a keen eye and ear, who are willing to soak in commentary on muted malaise of 21st-century youth, will find reward in Huang Ji and Ryûji Otsuka's Stonewalling. - The Film Stage
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| Posted Mar 14, 2023
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Still the Water (2014) |
While Still the Water feels pleasant, its existential questions are frustratingly left untraversed by its subtlety. - Film Inquiry
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| Posted Mar 11, 2023
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Against the Tide (2023) |
Against the Tide takes a somber look, one in which modernism and overconsumption jas stripped not only the resources but the joys in the payoff of a hard day’s work. - Film Inquiry
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| Posted Mar 04, 2023
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KOKOMO CITY (2023) |
There is an undeniable vibrancy from the beginning of D. Smith’s film that makes its commentary on trans sex work authentically registered as well as politically clear-voiced. - Film Inquiry
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| Posted Mar 04, 2023
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Infinity Pool (2023) |
I still don’t think Brandon Cronenberg has an interesting sense of style, but Infinity Pool injects adequate amounts of weird energy as a substitute through Mia Goth’s effervescent performance. - The Spool
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| Posted Feb 18, 2023
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Fair Play (2023) |
To describe Chloe Domont’s Fair Play as an “erotic thriller” is to misinterpret the genre. It’s also doing a disservice to the fantastic way the director depicts the calculated insanity of her characters. - The Spool
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| Posted Feb 13, 2023
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AUM: The Cult at the End of the World (2023) |
In a landscape of over-saturation with true crime documentaries, AUM doesn’t necessarily stand out but it does serve its informative purpose with economy. - Film Inquiry
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| Posted Feb 05, 2023
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Kim's Video (2023) |
The passion is inherent and appreciated, but is akin to the experience of walking around a video store without having a plan of what you want to rent. - Film Inquiry
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| Posted Feb 05, 2023
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Joyland (2022) |
Sadiq’s movie is one of hushed whispers, both accepting and malicious. - The Spool
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| Posted Feb 01, 2023
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Fairyland (2023) |
[A] refreshingly prickly nature belies this film’s sun-dipped, dewy-eyed visual pallet. - The Spool
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| Posted Feb 01, 2023
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Drift (2023) |
Drift frustratingly tries to evoke its emotions purely through juxtaposed imagery and heavy use of flashback sequences. - The Spool
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| Posted Feb 01, 2023
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The Eight Mountains (2022) |
Groeningen's latest film in co-direction with Vandermeersch gives a sweet and sour portrait of a friendship that bends and sways over time, but luckily, never breaks. - The Spool
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| Posted Feb 01, 2023
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After Love (2020) |
After Love, serviceably directed but only marginally engrossing, feels too much like a long wait for a heavy hammer to fall. - Film Inquiry
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| Posted Jan 28, 2023
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Wildcat (2022) |
Wildcat, despite all its good intentions of stringing together the ‘beautiful’ parts of life on this Earth as a way to heal from its terrors, remains disappointing in keeping those terrors vague and distant. - Film Inquiry
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| Posted Jan 28, 2023
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That Kind of Summer (2022) |
Côte’s film is an empathetic examination of the thorns of sexual desire. It slowly blunts the sharp ends but doesn’t do so before inflicting the realities onto the audience as a means of understanding his characters better. - Film Inquiry
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| Posted Jan 28, 2023
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Heroic (2023) |
While the awkward and contrived ending worked better in a movie like Fandry, it doesn’t negate the power of the film that comes before it. - The Spool
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| Posted Jan 25, 2023
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Skinamarink (2022) |
A reminder that as long as horror directors keep finding new ways to scare their audiences, they’ll keep pushing the genre further. - Polygon
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| Posted Jan 17, 2023
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Avatar: The Way of Water (2022) |
Cameron did what he did in 2009 and he did it better. He once again is redefining what cinema’s future can be in the digital and technological age. - Film Inquiry
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| Posted Jan 07, 2023
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Ted K (2021) |
While the movie doesn’t take any leaps to build or excavate its central character, it does offer a procedural look at the gradual ascension of a domestic terrorist. - Film Inquiry
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| Posted Jan 02, 2023
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Taming the Garden (2021) |
Taming the Garden is a consciously composed documentary that tries to communicate through observation. An eye-catching watch. - Film Inquiry
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| Posted Dec 24, 2022
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The Box (2021) |
The Box uses an identity crisis to excavate the skeletons in Mexican capitalism’s close -what the movie asks is, who put them there and why? - Film Inquiry
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| Posted Dec 24, 2022
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Jhund (2022) |
For a mainstream breakout film, Manjule creates something that has both a heart and mind behind it. - Film Inquiry
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| Posted Dec 10, 2022
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Ponniyin Selvan: Part I (2022) |
Ponniyin Selvan: Part I is fun and brisk, setting a higher standard for Indian literary adaptations. - Film Inquiry
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| Posted Dec 10, 2022
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Return to Seoul (2022) |
The melancholy of Freddie’s existence is a strong point in Seoul, which resists the temptation to deliver catharsis of tying the bow on Freddie’s relationship with her mother. - The Film Stage
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| Posted Nov 30, 2022
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Leonor Will Never Die (2022) |
Leonor plays with interesting blends of reality and fiction, borrowing from Filipino action influences to create a potent concoction of how inspiration might strike a writer’s creative impulses. - The Film Stage
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| Posted Nov 24, 2022
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A Rifle and a Bag (2020) |
A Rifle and a Bag is a quiet and contemplative film of lasting power. - Film Inquiry
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| Posted Nov 12, 2022
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Invisible Demons (2021) |
Rahul Jain’s documentary, in its unfiltered lenses and panning vistas of ugliness, exposes the worst kinds of effects mankind has created on nature. - Film Inquiry
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| Posted Nov 12, 2022
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The Gold-laden Sheep and the Sacred Mountain (2018) |
Mixing mysticism and slow-burn suspense like a lot of recent North Indian independent cinema of late, The Gold-Laden Sheep and the Sacred Mountain sets its story in the Himalayan mountainsides where shepherds reign supreme. - Film Inquiry
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| Posted Nov 12, 2022
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The Wonder (2022) |
Unfortunately, outside of Pugh, The Wonder underwhelms. - The Spool
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| Posted Nov 10, 2022
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The Fabelmans (2022) |
It’s one of the few times in Spielberg’s oeuvre where the relationship dynamics in marriage, children, school, and love interests aren’t paved over by monsters, aliens, and world-shaking historical events. - Film Inquiry
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| Posted Oct 15, 2022
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Blueback (2022) |
It’s completely inoffensive but also lacking emotional heft, a result of sloppy story structure and flashback-heavy plotting. - The Film Stage
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| Posted Oct 05, 2022
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All Quiet on the Western Front (2022) |
Though All Quiet on the Western Front aims to show the brute ugliness of war, it has the DNA of a Hollywood movie, and as such seeks to also valorize death and tragedy as a spiritual sacrifice. - The Film Stage
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| Posted Oct 05, 2022
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The Greatest Beer Run Ever (2022) |
The one thing that could have saved this movie from being a painfully embarrassing bit of mealy-mouthed politicking over what America is really doing in Vietnam is if it were genuinely funny or satirical. - The Film Stage
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| Posted Sep 28, 2022
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Corsage (2022) |
If this type of soft and breezy character study is your thing, then you’ll enjoy the fact that Kreutzer’s movie is a quiet leisure watch. - Film Inquiry
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| Posted Sep 23, 2022
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Butcher's Crossing (2022) |
Polsky’s film is clearly running up the clock in a way that makes me feel like there just wasn’t enough material to warrant a full-feature film, but features a fantastic, biting performance from Jeremy Bobb. - Film Inquiry
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| Posted Sep 23, 2022
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All the Beauty and the Bloodshed (2022) |
As the central focus of Laura Poitras’s Beauty and the Bloodshed, Nan Goldin’s photography evoked not only the provocative energy of the time and space she lived in but also the grit, love, hatred, and uncertainty of it. - Film Inquiry
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| Posted Sep 17, 2022
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Triangle of Sadness (2022) |
The third act is stretched out and it slogs its way through, if only for the belief that a movie that isn’t at least 2 hours can’t be taken seriously by the film art community. - Film Inquiry
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| Posted Sep 17, 2022
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Pacifiction (2022) |
This is more traditional than his previous two, having a clear character-driven plot and can even be considered in some respects, a genre film, but each moment is too muted and detached to really serve as a foundational piece to its greater narrative. - Film Inquiry
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| Posted Sep 17, 2022
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De Humani Corporis Fabrica (2022) |
It’s a celebration of life, a requiem of death, and a deeply graphic and emotional look at the mystery and miracle of our biological forms. - Film Inquiry
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| Posted Sep 17, 2022
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Trois Couleurs: Blanc (1993) |
While Blue and Red both take more sympathetic and optimistic ideas of their central tenets in White, Kiéslowski’s decides to depict in its most sinister interpretation. - Film Inquiry
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| Posted Sep 06, 2022
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Three Colors: Red (1994) |
Red is the most symbolic of the three films as well, it is rich in the narrative connection and details between characters that attempt to tie all the narrative threads of the trilogy together. - Film Inquiry
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| Posted Sep 06, 2022
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Blue (1993) |
Blue is the most complete picture in the trilogy in terms of both its metaphorical pronouncements and the visual aesthetic that Kieslowski defines them with. - Film Inquiry
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| Posted Sep 06, 2022
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Thirteen Lives (2022) |
Mukdeeprom and Howard make Thirteen Lives an entertaining and emotional translation of a major news event that captured the world. - Film Inquiry
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| Posted Sep 03, 2022
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Glorious (2022) |
If you don’t mind a movie teasing you for a good hour before getting to the good stuff, Glorious will prove to be a fun movie that has much more on its mind than you would’ve thought. - Film Inquiry
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| Posted Aug 28, 2022
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When I Consume You (2021) |
For When I Consume You, the strength lies in the movie’s ability to make the most with a small budget, but it cannot mask the shortcomings of an uncompelling story. - Film Inquiry
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| Posted Aug 20, 2022
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This Much I Know To Be True (2022) |
The film features some dazzling camerawork, light shows, and the music is absorbing and dances seamlessly in ballet with Dominik’s direction. - Film Inquiry
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| Posted Aug 20, 2022
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One More Time With Feeling (2016) |
Shot in stunning digital black and white cinematography and sometimes utilizing 3D cameras, Dominik’s visual approach is that of a painter and musician. - Film Inquiry
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| Posted Aug 20, 2022
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Vortex (2021) |
Noé is best when he’s leaning into the edge-lord cinema that he’s known for, but he is clearly thinking deeper and more personally with this movie. - Film Inquiry
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| Posted Aug 13, 2022
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Lux Æterna (2019) |
It’s a slow-burn buildup of human tension and interaction erupting into a denouement that is totally and singularly Noe, to both illuminating and frustrating levels. - Film Inquiry
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| Posted Aug 13, 2022
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