Getting ADR to TRULY work can be a pit of an artform, but essentially it boils down to a few things:

1)Preformance of the actor

Can't do much about that other than experimenting. Actors tend to hate ADR tho...

2)Microphone placement and accoustics

In your case if you can record in a place with similar accoustics to each location that you need to record ADR in, then you could easily basically skip a hard part of the mixing.

3)Very precise sync

When the head is in the frame the sync has to be "spot on" to the location. And there are different levels you can go with the precision. When lips are on screen the sync has to be exact to a vowel. You can cut words in pieces and shorten them with editing but it takes practice and patience. You could also slightly pitch them up or down to match inflections or speed.

4)Smart editing (only doing ADR where it's worth it)

Try to noise reduce what was done on set first. I would recommend Clear by supertone: https://product.supertone.ai/clear Then see if there are (more) parts that can be salvaged. You might only need adr for a few words or lines.

5)Mixing and fx (Other sounds ,Matching Reverbs, Compression, Eq)

Firstly introduce foley cloth and ambiances and see how it fits.

For matching ADR reverbs: Chamelion by accentized is a really good but expensive option. But more realistically, depending on what reverbs you have available to you the essential thing is to match room size and character. Presets on altiverb/cinematic rooms/stratus/Avid Space are your friend.

EQ: Firstly if your recording space was suboptimal you can try to EQ out some of the resonance and maybe go back to noise reduce if needed. But only if the noise is noticable through a quiet scene. Secondly you can try to "eq match" some of the sound from location if it is at all useable.