Richard Brody

Richard Brody

Agrees with the Tomatometer 82% of the time.

Publications:
New Yorker
Total Reviews:
333

Listing Of All Reviews & Articles

Showing 1 - 50 of 333
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Rating T-Meter Title | Year Add Date
—— Good Men, Good Women (Haonan Haonu) (1995) " Personal and historical memory intertwines with intimate and ideological passion in Hou's sinuous, meticulously constructed tableaux ..." — New Yorker
Posted Sep 15, 2014
88% Faustrecht der Freiheit (Fox and His Friends) (Fist-Fight of Freedom) (1975) " This melodramatic fable of emotional extremes is sharp and precise-nowhere more than in Fassbinder's attention to the price of domestic comforts and industrial necessities." — New Yorker
Posted Sep 15, 2014
—— Chronicle of a Summer (1965) " The results are a shock." — New Yorker
Posted Sep 15, 2014
—— The Dawn Patrol (Flight Commander) (1930) " Young recruits are sent airborne toward certain death, but Hawks locates a strange joy in their grim fate." — New Yorker
Posted Sep 8, 2014
—— Night at the Crossroads (La Nuit Du Carrefour) (1932) " Renoir matches the elegance of calm lawmen with their terse courage, Maigret's perspicacity with an astonishing, documentary-style long take of a car chase through back roads in near-total darkness." — New Yorker
Posted Sep 5, 2014
80% The One I Love (2014) " Ethan and Sophie are never more than playthings of the premise; Moss and Duplass are the sole sources of nuance and vitality, and they seem unduly hemmed in by the movie's unimaginative confines." — New Yorker
Posted Sep 5, 2014
67% Memphis (2014) " Tim Sutton's second feature, starring the young contemporary musician Willis Earl Beal as a musician with the same name, captures the mood of the blues with pitch-perfect sensuality." — New Yorker
Posted Sep 5, 2014
71% Fedora (1978) " This one seethes with authentic nostalgia; Wilder's attempt not merely to eulogize earlier styles but to revive them feels somewhat embalmed." — New Yorker
Posted Sep 5, 2014
77% The Cosmopolitans: Season One (TV, 2014) " The narrow social group in the pilot of The Cosmopolitans has tendrils that reach far and deep. Stillman's sense of power is serious: within the febrile exclusivity of his glossy set is an underlying quest to clearly see the way in which the world works. " — New Yorker
Posted Aug 27, 2014
73% Daisies (2012) " One of the great outpourings of cinematic invention in an age of over-all artistic liberation." — New Yorker
Posted Aug 26, 2014
100% Scarface (1932) " By far the most visually inventive and tonally anarchic movie that Hawks made." — New Yorker
Posted Jul 30, 2014
18% Transformers: Age of Extinction (2014) " The few authentic inspirations to be found in the movie's hundred and sixty-five roiling minutes involve gigantic science-fiction contrivances." — New Yorker
Posted Jul 14, 2014
100% Tristana (1970) " The rigid rituals of duty and honor form an inextricable bond of pleasure and degradation, of sex and death-and render sin all the more exciting." — New Yorker
Posted Jul 14, 2014
24% Tammy (2014) " Tammy is an object lesson in the art of directing, which is all it would have taken to turn this near-miss into an instant classic. Though that may be true of most mediocre movies." — New Yorker
Posted Jul 6, 2014
100% The Criminal Life of Archibaldo de la Cruz (Ensayo de un crimen)(Rehearsal for a Crime) (1955) " Against a background of revolution and restoration, Catholic mysteries and aristocratic manners, Buñuel unfolds, in images akin to Freudian X-rays ..." — New Yorker
Posted Jun 30, 2014
93% Closed Curtain (2014) " Imagination and reality flow together in surprising and exhilarating ways." — New Yorker
Posted Jun 30, 2014
97% Life Itself (2014) " A paradoxical and vitally overflowing character emerges: a compassionate moralist with vast appetites, a raucous public performer whose confessional candor had a nearly religious purity." — New Yorker
Posted Jun 30, 2014
100% The Tall T (1957) " Conceals a complex world view beneath its desolate and blood-soaked landscapes." — New Yorker
Posted Jun 30, 2014
68% They Came Together (2014) " The leering title is the wittiest thing in this amiable comic misfire." — New Yorker
Posted Jun 23, 2014
71% A Coffee in Berlin (2014) " In Gerster's view, Berlin's unresolved past taints its bustling charm and glossy serenity, as well as every familiar course of practical action-yet his movie veers toward the historical kitsch that he satirizes." — New Yorker
Posted Jun 23, 2014
69% Policeman (2014) " Lapid's workmanlike direction illustrates his airless script efficiently, and sometimes engagingly, but unimaginatively. He has something to say; he shows very little." — New Yorker
Posted Jun 16, 2014
96% Solyaris (Solaris) (1976) " Tarkovsky's speculative visions enfold the mysteries of death and rebirth, the lost paradise of childhood, the power of art to define identity, the menace of science as destructive vanity ..." — New Yorker
Posted Jun 16, 2014
80% City Streets (1931) " This atmospheric gangster classic, from 1931, is based on a story by Dashiell Hammett; it offers a terse visual translation of his prose as well as of his cold-blooded view of Prohibition-era underworld wiles." — New Yorker
Posted Jun 16, 2014
90% Live Die Repeat: Edge of Tomorrow (2014) " The metaphorical overlay of fantasy and history is the best thing Edge of Tomorrow has to offer -- and, for much of its running time, that overlay is enough to lend the movie a shiver of curious power. " — New Yorker
Posted Jun 5, 2014
91% Cluny Brown (1946) " Ernst Lubitsch's last completed film, from 1946, looks back to the prewar year of 1938 to take stock of the postwar world and to show how it got that way." — New Yorker
Posted Jun 5, 2014
100% Angst Essen Seele auf (Ali: Fear Eats the Soul) (1974) " Fassbinder's historicism is a crucial aspect of his modernism: he didn't just make use of prior forms, he quoted them, and derived from them the ironies implicit in his melodramatic styles." — New Yorker
Posted Jun 3, 2014
98% The Best Years of Our Lives (1946) " Profoundly and sensitively balances the private demons of scarred veterans and the press of public policies that leave their mark on daily life." — New Yorker
Posted Jun 2, 2014
55% Ping Pong Summer (2014) " Tully seems filled with yearning for the happy side to the story and dwells fleetingly on his hero's struggles and humiliations; neither the problems nor their resolutions have any weight." — New Yorker
Posted Jun 2, 2014
80% Goodbye Dragon Inn (2004) " This elegiac 2003 comedy, by the Taiwanese director Tsai Ming-liang, is a requiem for a movie theatre." — New Yorker
Posted Jun 2, 2014
88% Obvious Child (2014) " Obvious is the word." — New Yorker
Posted Jun 2, 2014
88% Elena (2014) " Unfolds a story of grief and thwarted promise with expressive urgency and thoughtful restraint." — New Yorker
Posted May 26, 2014
13% Blended (2014) " The romance is sweet and even effervescent, the comedy is homespun and sentimental, but it's packaged with such a repellent batch of stereotypes and prejudices that it's unpalatable even to contemplate." — New Yorker
Posted May 24, 2014
78% Gertrud (1964) " Dreyer's film depicts repressed carnal desires that merge with Gertrud's inevitably frustrated spiritual one: the longing for a love so total and consuming that it contains the seeds of its own destruction." — New Yorker
Posted May 22, 2014
100% Gion bayashi (A Geisha) (1953) " A sardonic riff on the difference between postwar and prewar ideas is matched by an angry discussion on the gap between constitutionally guaranteed rights and brutal realities." — New Yorker
Posted May 19, 2014
10% Hardly Working " The movie's desperately amiable tone plays like a chastised boy's terrified plea for love; the oblivious cruelty that emerges nonetheless (as in Lewis's embarrassing parody of a Japanese chef) makes it all the sadder." — New Yorker
Posted May 19, 2014
89% Stand Clear Of The Closing Doors (2014) " Ultimately, Fleischner's virtuous intentions, his sidelong hints at political questions, are undercut by their maudlin tone; the panorama veers to caricature." — New Yorker
Posted May 19, 2014
72% Palo Alto (2014) " The catalogue of petty derelictions and frustrated yearnings is anchored by no inner world, framed by no context, and there's nothing distinctive in the twenty-six-year-old Gia Coppola's direction." — New Yorker
Posted May 12, 2014
100% Black God, White Devil (Deus e o Diabo na Terra do Sol) " For all its heroic energy, hortatory anger, and impulsive youth, it's very much a philosophical work of its time, a majestic fantasy of no way out." — New Yorker
Posted May 12, 2014
—— Yoru no onnatachi (Women of the Night) (1948) " Mizoguchi sees blasted landscapes as breeding grounds for demonic energies, and the wild, shattering transformations of his protagonists-as they collapse from genteel poverty to maenadic monstrosity-have a tragic inevitability." — New Yorker
Posted May 12, 2014
—— Rue de l'Estrapade (1953) " This romantic comedy of decadence, frivolity, and cynicism seems imbued with the very high-gloss lacquer that it derides." — New Yorker
Posted May 12, 2014
100% Warum Lauft Herr R. Amok? (Why Does Herr R. Run Amok?) (1977) " With a sardonic, scalpel-like technique, Rainer Werner Fassbinder and his co-director, Michael Fengler, calmly and gleefully flay the West German version of the American dream." — New Yorker
Posted May 12, 2014
—— The Woman on the Beach (1947) " The filmmaker, living in California in self-imposed exile from France, cuts loose with vicious moods and creative rages that feel like the destruction of an old world and the violent birth of new possibilities." — New Yorker
Posted May 5, 2014
24% The Other Woman (2014) " What begins as a smoothly oiled romantic comedy quickly morphs into a clattery, grinding screwball contrivance." — New Yorker
Posted May 5, 2014
—— La petite Lise (Little Lise) " The inky despair at the heart of film noir flows freely in prewar French working-class dramas, and this one, from 1930, directed by Jean Grémillon, adds a raw and thrashing physicality to its implacably bitter moods." — New Yorker
Posted May 5, 2014
82% The Double (2014) " Ayoade borrows Kafka's bureaucratic nightmares without the cosmic humor, David Lynch's grotesquerie without the unhinged desires, Wes Anderson's curation without the image sense or world view ..." — New Yorker
Posted May 5, 2014
62% Grigris (2014) " Distills a vast swath of history and experience in the travails of one striving man." — New Yorker
Posted May 5, 2014
97% Intolerance (1916) " Griffith's trademark closeups lend a quivering lip or a trembling hand the tragic grandeur of historical cataclysm." — New Yorker
Posted May 5, 2014
11% After Earth (2013) " As drama, After Earth offers no surprises; as action, it's rarely stimulating; as a parenting manual, it seems that Will has thrown Jaden into water that's a little too deep." — New Yorker
Posted May 2, 2014
90% The Elephant Man (1980) " Lynch's powerful depiction of Merrick (played by John Hurt) moves a viewer from revulsion and fear to empathy and tenderness. That's the very movement of the story itself." — New Yorker
Posted Apr 22, 2014
100% Manakamana (2014) " The directors, Pacho Velez (who did the camera work) and Stephanie Spray (who recorded the sound), condense world history into the confined space of a glassed-in bubble." — New Yorker
Posted Apr 21, 2014
Showing 1 - 50 of 333
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