Richard Brody

Richard Brody
Richard Brody's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): New Yorker

Movie Reviews Only

Rating T-Meter Title | Year Review
60% The House That Jack Built (2018) Von Trier... simply dallies with disgusting images and ideas in a carefully calibrated, ante-upping ploy to attract attention...‐ New Yorker
Read More | Posted Dec 14, 2018
65% The Mule (2018) Plays less like the clever action film it is than like a personal work-a movie of self-retrospection with a resonant, romantic air of regret.‐ New Yorker
Read More | Posted Dec 13, 2018
57% The Great Pretender (2018) Flashbacks and fantasies, plus wry inserts of film clips and complex overlaps of art and life, adorn-for that matter, overwhelm-the story, which is built on flimsy psychological clichés amid the implacable imperatives of desire and disease.‐ New Yorker
Read More | Posted Dec 10, 2018
76% Capernaum (Capharnaüm) (2018) Labaki depicts underworld barbarity, official indifference, and the crushing weight of traditional misogyny through Zain's ferociously intelligent, deeply principled perspective.‐ New Yorker
Read More | Posted Dec 10, 2018
61% Vox Lux (2018) "Vox Lux" sinks under the weight of its own bombastic earnestness. Unfortunately, it pulls one of the best modern actresses, Portman, down along with it.‐ New Yorker
Read More | Posted Dec 7, 2018
No Score Yet Ten Days' Wonder (1972) It's a minor masterwork of freakazoidal cinema.‐ New Yorker
Read More | Posted Dec 3, 2018
61% Mary Queen of Scots (2018) The tamped-down and smoothed-out movie lacks the psychological acuity and the political reflection to develop its ideas.‐ New Yorker
Read More | Posted Dec 3, 2018
95% Amazing Grace (2018) A triumph of timeless artistry over transitory obstacles; its very existence is a secular miracle.‐ New Yorker
Read More | Posted Dec 3, 2018
100% Bathtubs Over Broadway (2018) By presenting the gleeful idiosyncrasy of these artists' flamboyantly poetic renderings of arch-prosaic subjects, Young and Whisenant confront colossal matters of aesthetic theory with a sly wink.‐ New Yorker
Read More | Posted Nov 28, 2018
89% Happy as Lazzaro (Lazzaro felice) (2018) Borrowing themes and tropes from such grand directorial forerunners as Visconti and Pasolini, Rohrwacher imaginatively maps the ills of modernity onto long-standing injustices.‐ New Yorker
Read More | Posted Nov 26, 2018
100% Detour (1945) The film, told in flashbacks, is held together by a poetically lurid interior monologue and directed, by Edgar G. Ulmer, with harrowingly expressive effects of light and shadow.‐ New Yorker
Read More | Posted Nov 26, 2018
91% Widows (2018) The movie tosses back at viewers a variety of casual exasperations-inchoate, flip, and manipulable-that flatten and simplify the very ills and grievances that it dramatizes.‐ New Yorker
Read More | Posted Nov 19, 2018
82% Green Book (2018) Humor... keeps the movie floating, weightlessly, above the appalling bedrock of its ponderous assumptions.‐ New Yorker
Read More | Posted Nov 19, 2018
44% Write When You Get Work (2018) The core of the film is Ruth and Jonny's backstory, which is dosed out in frustrating droplets but is nonetheless affecting.‐ New Yorker
Read More | Posted Nov 19, 2018
No Score Yet Spring Night, Summer Night (1970) Blending fervent quasi-documentary curiosity with expressive fury, Anderson-working with nonprofessional actors-embeds practical details of the town's history and struggles in the tense, myth-drenched drama of liberation and retribution.‐ New Yorker
Read More | Posted Nov 19, 2018
71% Napalm (2017) "Napalm" is first-person filmmaking on a global scale.‐ New Yorker
Read More | Posted Nov 15, 2018
92% The Ballad of Buster Scruggs (2018) The short films in "Buster Scruggs" are playthings, but the Coens are playing with no mere frivolity.‐ New Yorker
Read More | Posted Nov 15, 2018
93% CAM (2018) [A] remarkably accomplished thriller...‐ New Yorker
Read More | Posted Nov 12, 2018
82% At Eternity's Gate (2018) Vulgar defacements of the art work match the eye-rollingly portentous melodrama with which van Gogh's torments are depicted.‐ New Yorker
Read More | Posted Nov 12, 2018
88% Bodied (2018) It's neither a rewarding drama nor a substantial set of ideas, but its implications and by-products, suggestions and overtones are far more enjoyable to contemplate than the movie is to experience.‐ New Yorker
Read More | Posted Nov 9, 2018
62% Bohemian Rhapsody (2018) Malek does an impressive job of re-creating Mercury's moves onstage, but the core of the performance is Malek's intensely thoughtful, insight-rich channelling of Mercury's hurt, his alienation and isolation even at the height of his fame.‐ New Yorker
Read More | Posted Nov 6, 2018
No Score Yet Un vivant qui passe (A Visitor from the Living) (1997) Rossel is easy to despise and easier to mock, but the cold light of his detachment serves as a reminder of the tyrannical deceits that, even now, conceal atrocities.‐ New Yorker
Read More | Posted Nov 5, 2018
63% Suspiria (2018) Sordid, flimsy Holocaust kitsch, fanatical chic, with all the actual political substance of a designer Che T-shirt.‐ New Yorker
Read More | Posted Oct 31, 2018
100% A Season in France (Une Saison en France) (2017) In Haroun's analytical vision, the simple pleasures of daily French life conceal the virtual violence of its administrative authority.‐ New Yorker
Read More | Posted Oct 29, 2018
82% The Other Side of the Wind (2018) Welles's last dramatic feature, shot between 1970 and 1976 and recently completed by a consortium of experts, is an anarchic-feeling but tautly scripted settling of scores-with Hollywood, history, and, above all, himself.‐ New Yorker
Read More | Posted Oct 29, 2018
76% Mid90s (2018) The drama is heartfelt but thin; despite some sharp and swift dialogue, the characters are bound to a defining trait or two, and there's little sense of style to lift the action past obvious intentions.‐ New Yorker
Read More | Posted Oct 29, 2018
No Score Yet El Sopar (1974) The conversation turns searingly intimate, as the eldest participant affirms that prison "annuls a person's personality."‐ New Yorker
Read More | Posted Oct 29, 2018
86% Monrovia, Indiana (2018) A calmly analytical film in which-as ever in Wiseman's work-extended discussions and public debates are developed with an absorbing dramatic power.‐ New Yorker
Read More | Posted Oct 25, 2018
100% A Bread Factory, Part Two: Walk with Me a While (2018) The distinctive premise of Patrick Wang's new film, "A Bread Factory," is matched by the audacity and the originality with which he realizes it.‐ New Yorker
Read More | Posted Oct 24, 2018
100% A Bread Factory, Part One: For the Sake of Gold (2018) The distinctive premise of Patrick Wang's new film, "A Bread Factory," is matched by the audacity and the originality with which he realizes it.‐ New Yorker
Read More | Posted Oct 24, 2018
98% Can You Ever Forgive Me? (2018) It is a fiercely composed, historically informed, and richly textured film, as insightful regarding the particularities of the protagonist as it is on the artistic life-and on the life of its times.‐ New Yorker
Read More | Posted Oct 18, 2018
100% The Waldheim Waltz (2018) Several journalists perform keen off-the-cuff political analyses; several Austrian politicians bravely defy local orthodoxies; and free, frank hearings in the United States Congress add a painful element of nostalgia.‐ New Yorker
Read More | Posted Oct 17, 2018
86% Wobble Palace (2018) Neither character offers much more than a handful of idiosyncrasies, which, nonetheless, are often funny, poignant, and clever.‐ New Yorker
Read More | Posted Oct 15, 2018
88% First Man (2018) A historical film in which the historical element is so grossly distorted as to detach the hero from humanity.‐ New Yorker
Read More | Posted Oct 11, 2018
93% Hotel by the River (2018) Hong builds the action into a framework of poetic premonitions that exude anticipatory danger.‐ New Yorker
Read More | Posted Oct 8, 2018
90% A Star Is Born (2018) What Cooper persuasively depicts is the fear factor of stardom-the sense of vulnerability, of a position that's both powerful and fragile.‐ New Yorker
Read More | Posted Oct 8, 2018
94% Private Life (2018) Scenes of painful turmoil play like skillful script readings rather than life events.‐ New Yorker
Read More | Posted Oct 8, 2018
97% The Hate U Give (2018) This impassioned and incisive adaptation of the novel by Angie Thomas keeps a complex story and a wide array of characters in energetic, compassionate balance.‐ New Yorker
Read More | Posted Oct 8, 2018
50% The Errand Boy (1961) Lewis's antics bring out his radically democratic politics: when the yearnings for power, self-expression, and love are thwarted, the ordinary man becomes the great anarch.‐ New Yorker
Read More | Posted Oct 8, 2018
92% The Old Man & the Gun (2018) [Redford] delivers a glorious, sly performance in a gloriously sly movie that masks its idiosyncrasy in brisk and breezy storytelling.‐ New Yorker
Read More | Posted Oct 4, 2018
59% American Dharma (2018) "American Dharma" succeeds neither as journalism nor as portraiture, neither as political critique nor as cultural survey nor as psychological study.‐ New Yorker
Read More | Posted Oct 4, 2018
23% At Long Last Love (1975) "At Long Last Love" is a lavish feast of performance; for that matter, like many great movies, it defines a mode of performance.‐ New Yorker
Read More | Posted Oct 4, 2018
82% Her Smell (2018) Over and above the furious-and ultimately painfully tender-drama, Perry achieves something of a new, grand version of his own cinematic music.‐ New Yorker
Read More | Posted Sep 26, 2018
100% A Family Tour (2018) Unflinching, probingly analytical, and fiercely angry.‐ New Yorker
Read More | Posted Sep 26, 2018
13% Life Itself (2018) Excruciatingly contrived and ill-conceived...‐ New Yorker
Read More | Posted Sep 24, 2018
97% Hale County This Morning, This Evening (2018) Though made modestly and intimately, the film embodies a vast conceptual and aesthetic ambition.‐ New Yorker
Read More | Posted Sep 20, 2018
96% Garry Winogrand: All Things are Photographable (2018) The film puts his work convincingly and revealingly into the context of his turbulent life and the passionate politics of the times.‐ New Yorker
Read More | Posted Sep 17, 2018
85% A Simple Favor (2018) The performances by Anna Kendrick and Blake Lively are so invigorating, so generous with pointed inflections and snappy gestures, that they fill the movie's good-humored, amply plotted emptiness.‐ New Yorker
Read More | Posted Sep 14, 2018
No Score Yet Chaos (2018) It's a conversational film about silence, a visually complex film about invisibility, a film about the possibility of making a film about the war and what's been lost in it.‐ New Yorker
Read More | Posted Sep 13, 2018
No Score Yet Dieu seul me voit (Only God Sees Me) (2008) It's a masterwork of subtle absurdities, local peculiarities, and outrageous incongruities-it's one of the most physically inventive comedies since the heyday of Jacques Tati.‐ New Yorker
Read More | Posted Sep 13, 2018
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