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
No Score Yet Jobe'z World (2019) Its inspirations, almost all of which are centered on Bouloukos's performance, redeem its longueurs and virtually blast them off the screen and out of memory.‐ New Yorker
Read More | Posted Jan 14, 2019
33% Rockaway (2017) Rockaway is a survivor's film, and it's seemingly warped by the agony of the experiences that Budion is trying to relate.‐ New Yorker
Read More | Posted Jan 11, 2019
67% Pig (The Pig) (2018) It is rare for a film to put forth so boldly precise a vision of society; it's also rare to find a satire that hardly ever falls into mere ridicule or pathos.‐ New Yorker
Read More | Posted Jan 10, 2019
No Score Yet Young Solitude (Premières solitudes) (2018) Simon elicits discussions of a novelistic depth; her assertive images give the students' words physical impact.‐ New Yorker
Read More | Posted Jan 7, 2019
62% Bird Box (2018) Unfortunately, Bird Box puts these performers through familiar paces, in roles of such tight typecasting that they seem like recurring characters in an extended TV series...‐ New Yorker
Read More | Posted Jan 2, 2019
87% L' Avocat de la Terreur (Terror's Advocate) (2007) The story Schroeder unfolds is also his own-that of a generation that had its humanistic sympathies manipulated by unscrupulous people with agendas of horror.‐ New Yorker
Read More | Posted Jan 2, 2019
No Score Yet Cane River (1982) Jenkins's spare, frank lyricism foregrounds the couple's tense discussions about the traumas of history, the weight of cultural memory, and the pressure of racial injustice; he lends the intimate tale a vast and vital resonance.‐ New Yorker
Read More | Posted Dec 31, 2018
92% Bumblebee (2018) Where the Bay "Transformers" movies alternated between ecstasy and dullness, "Bumblebee" is consistently middling.‐ New Yorker
Read More | Posted Dec 31, 2018
64% Aquaman (2018) Through it all, Jason Momoa... tosses off coyly bluff one-liners with understated humor that goes to waste in this bloated and sludgy movie.‐ New Yorker
Read More | Posted Dec 31, 2018
31% Welcome to Marwen (2018) A well-meaning, heartfelt, and vigorously engaged tribute to a remarkable person...‐ New Yorker
Read More | Posted Dec 24, 2018
100% Dead Souls (2018) In addition to being a work of memory that brings the past imaginatively to light, "Dead Souls" is a film of resistance that, in discussing the past, also confronts the present-day activities of the Chinese government.‐ New Yorker
Read More | Posted Dec 20, 2018
96% Roma (2018) For all its worthy intentions, "Roma" is little more than the righteous affirmation of good intentions.‐ New Yorker
Read More | Posted Dec 19, 2018
97% Spider-Man: Into the Spider-Verse (2018) The spectacularly colorful, varied, and busy animation is impressive but bombastic, leaving little room for wonder and suggesting exertion rather than inspiration.‐ New Yorker
Read More | Posted Dec 17, 2018
71% On the Basis of Sex (2019) Sacrifices character for intricate, and often fascinating, behind-the-scenes legal maneuvers...‐ New Yorker
Read More | Posted Dec 17, 2018
88% Female Trouble (1974) The resulting feast of sex, violence, cruelty, and frivolity mocks sentimental notions of family, work, and love, and turns the egomaniacal furies of pop culture inside out.‐ New Yorker
Read More | Posted Dec 17, 2018
59% 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
66% 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
67% 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
82% 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
59% 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
62% 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
90% 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
94% CAM (2018) [A] remarkably accomplished thriller...‐ New Yorker
Read More | Posted Nov 12, 2018
80% 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
64% 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
77% 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
84% 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
88% 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