Richard Brody

Richard Brody

Agrees with the Tomatometer 81% of the time.

Listing Of All Reviews & Articles

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Showing 1 - 50 of 435
Rating T-Meter Title | Year Review
47% True Story (2015) " Filming a drama about the compromises and conventions of storytelling, Goold falls prey to them. He lacks the pulp verve and the symbolic imagination to illuminate or even convey the characters' mysteries. " ‐ New Yorker
Posted Apr 20, 2015
No Score Yet Xi you " Tsai's radical vision, challenging basic ideas of cultural politics and economic choices, turns the world as we know it upside down. " ‐ New Yorker
Posted Apr 20, 2015
No Score Yet Isn't Life Wonderful (1924) " Filming on location in 1924, D. W. Griffith dramatized, in the heat of the moment, the turmoil arising in Germany from runaway inflation and unhealed wartime traumas. " ‐ New Yorker
Posted Apr 20, 2015
95% Gloria (1980) " The plot is a paranoid endgame in which the ubiquitous Mafia, in the know about everything before it happens, is the instrument of terminal destiny and running from death is as absurd as waiting for it. " ‐ New Yorker
Posted Apr 20, 2015
100% The Aviator's Wife (La femme de l'aviateur) (1981) " In astute, luminous jaunts through city streets and parks, Rohmer constructs an exquisite web of coincidences that he elevates into a sort of destiny. " ‐ New Yorker
Posted Apr 20, 2015
No Score Yet Men Go To Battle " Treitz persuasively and passionately re-creates a grand panorama on an intimate scale and a spare budget. " ‐ New Yorker
Posted Apr 15, 2015
100% Rebels of the Neon God (2015) " With longing gazes, antic and violent outbursts, and exquisite coincidences set amid his fetish objects-leaky pipes and bloody wounds, fast food and bathroom fixtures-Tsai depicts the city as a spontaneous, sticky, erotic ballet. " ‐ New Yorker
Posted Apr 13, 2015
86% Mississippi Mermaid (La Sirène du Mississipi) (1969) " The redemptive power of love is joined with a stifled guffaw of irony. " ‐ New Yorker
Posted Apr 13, 2015
74% Welcome To New York (2015) " The movie packs a singular, agonized vision that seems entirely the director's own. " ‐ New Yorker
Posted Apr 6, 2015
88% Ornette: Made in America (2012) " Shirley Clarke's 1985 documentary about the seminal jazz innovator Ornette Coleman joins an impressionistic portrait of the musician with an informative overview of his life, work, and ideas. " ‐ New Yorker
Posted Apr 6, 2015
82% Furious 7 (2015) " The director, James Wan, sends cars repeatedly airborne and seems himself to marvel at the results; the movie's real subject is the stunt work, but its stars' authentic chemistry lends melody to its relentless beat. " ‐ New Yorker
Posted Apr 6, 2015
86% La Sapienza (2015) " Green's richly textured, painterly images fuse with the story to evoke the essence of humane urbanity and the relationships that it fosters, whether educational, familial, or erotic. " ‐ New Yorker
Posted Mar 23, 2015
89% The Kidnapping of Michel Houellebecq (2015) " A self-portrait in marginalia as well as a purposeful goof on the vigorous, menacing, mucky stuff of life outside the pristine precincts of art. " ‐ New Yorker
Posted Mar 23, 2015
91% Jauja (2015) " Alonso's audacious leaps of time, his incisive view of the wiles of combat and the rigors of survival, and his ingenious reflection of present-day splendors in past plunder lend the visually sumptuous experience a haunting depth. " ‐ New Yorker
Posted Mar 23, 2015
31% Insurgent (2015) " There's little substance and little depth, but Woodley, with her preternatural poise, offers a worthy simulation of drama. " ‐ New Yorker
Posted Mar 23, 2015
No Score Yet From Mayerling To Sarajevo (1940) " Ophüls contrasts the authentic grandeur of inner nobility with the crushing formalities of royal presumption. " ‐ New Yorker
Posted Mar 23, 2015
91% Amour Fou (2015) " The colorful costumes and décor have more character than the blandly coached cast, and the stiff, tableau-like images are a vain artistic pose. " ‐ New Yorker
Posted Mar 15, 2015
9% The Cobbler (2015) " The conceit is both ridiculous and clever, but the director, Tom McCarthy, pushes it to facile conclusions without tapping its deeper potential ... " ‐ New Yorker
Posted Mar 15, 2015
73% 3 Hearts (2015) " A few plunging camera moves and careful framings, and the appealing presence of skillful actors, don't compensate for the lazy lack of psychological or symbolic imagination. " ‐ New Yorker
Posted Mar 15, 2015
98% Vertigo (1958) " It's as much a wonder of suspense as it is a catalogue of the director's themes and an allegory for his own art of enticement-and for the erotic pitfalls of his métier. " ‐ New Yorker
Posted Mar 15, 2015
88% Buzzard (2015) " Potrykus's puckishly outrageous visions are short on insight, but they pack an enduring hallucinatory power. " ‐ New Yorker
Posted Mar 6, 2015
100% Playtime (Play Time) (1967) " Tati's despair is modulated by a sense of wonder. " ‐ New Yorker
Posted Mar 2, 2015
92% Grey Gardens (1975) " Rarely have high spirits and theatrical energy seemed like such a tragic waste; an era and its myths seem to be dying on-screen in real time. " ‐ New Yorker
Posted Mar 2, 2015
56% Focus (2015) " That sound you hear is the high-fives in the writers' room, and that, unfortunately, is where the filmmakers' focus remains. " ‐ New Yorker
Posted Mar 2, 2015
70% Young Bodies Heal Quickly (2015) " Violence and tenderness, piety and crime unite in a terrifying tangle of stunted emotions. " ‐ New Yorker
Posted Feb 16, 2015
95% Wild Tales (2015) " Each of the segments involves violence and illustrates the arrogance of the wealthy and powerful, but their moralizing is as facile as the plotting is mechanical. " ‐ New Yorker
Posted Feb 16, 2015
84% Wild Canaries (2015) " As performers, Levine and Takal are both practiced and casual; as a director, Levine displays a sharp comedic touch; the result is self-deprecating and self-revealing. " ‐ New Yorker
Posted Feb 16, 2015
100% Forty Guns (1957) " Offers the anticipated measures of doomed love and sudden death but surprises with its dramatic richness. " ‐ New Yorker
Posted Feb 16, 2015
100% Approaching the Elephant " Nuanced and passionate ... " ‐ New Yorker
Posted Feb 16, 2015
63% The Golden Era (2014) " Hui captures the romantic aura of Xiao's freethinking audacity and artistic vocation in poised, painterly shots that seem less like sites of action than like elusive memories. " ‐ New Yorker
Posted Feb 16, 2015
No Score Yet The Tree, The Mayor, and the Mediatheque (L'arbre, le maire et la médiathèque) (1998) " The film's ambling tempo and spatial integrity are political as well as aesthetic, and the film's first closeup-near the end-is both a visual jolt and a moral one. " ‐ New Yorker
Posted Feb 9, 2015
64% The Rewrite (2015) " Bright-toned performances by J. K. Simmons, as Keith's department chairman, and Allison Janney, as a stiff-necked colleague, provide deft distractions from the didactic strain. " ‐ New Yorker
Posted Feb 9, 2015
83% Minnie and Moskowitz (2000) " The sculptural physicality of the images, a 3-D explosion without glasses, embodies that violence while preserving the antagonists' innocent grace; love smooths things out to a dreamy and reflective shine. " ‐ New Yorker
Posted Feb 9, 2015
25% Jupiter Ascending (2015) " The Wachowskis create a churning, swooping C.G.I. universe that's decorated to the corners of the frame without taste or imagination. " ‐ New Yorker
Posted Feb 9, 2015
35% Da Sweet Blood of Jesus (2015) " Lee augments the hectic clash of violence and sex with the pressures of intellectual disputations and the unchallenged power of wealth. " ‐ New Yorker
Posted Feb 9, 2015
No Score Yet Young Lovers (2008) " Lupino turns the potentially maudlin material into a searing, deep, trenchantly mature study in the dissolution of a personality. " ‐ New Yorker
Posted Feb 2, 2015
96% 1971 (2015) " The story, including its cat-and-mouse aftermath, adds the intricate excitement of a thriller to righteous historical outrage. " ‐ New Yorker
Posted Feb 2, 2015
91% Mommy (2015) " Mother and son gesticulate wildly but remain undefined; Dolan's blandly showy aesthetic matches the vainly hectic action. " ‐ New Yorker
Posted Feb 2, 2015
100% Hard to be a God (2015) " The late director Aleksei Guerman's last film is a grandly arbitrary carnival of neo-medieval depravity. It's also a mudpunk allegory of Russian barbarism and backwardness. " ‐ New Yorker
Posted Feb 2, 2015
92% Girlhood (2015) " A sequel, please. " ‐ New Yorker
Posted Feb 2, 2015
No Score Yet Du cote d'Orouet (1996) " With his blend of delicate understatement and raucous spontaneity, Rozier may be the most secretly influential director of the era. " ‐ New Yorker
Posted Feb 2, 2015
49% Cake (2015) " The slack and purposeless direction leaves the entire cast emoting in a void. " ‐ New Yorker
Posted Feb 2, 2015
33% Blackhat (2015) " Hints of a quasi-apocalyptic chill seem arbitrary-neither symbolic nor dramatic. The effect is like watching software run itself. " ‐ New Yorker
Posted Feb 2, 2015
93% The Duke Of Burgundy (2015) " Portentous images of insects both living and preserved are as heavy-handed as the erotic psychology is flimsy; the movie is as sexy as a chess game and as insightful as a catalogue. " ‐ New Yorker
Posted Jan 26, 2015
84% Predestination (2015) " A brisk, twisty, and atmospheric science-fiction thriller that piques the imagination and the senses with the low-rent exuberance of fifties drive-in classics. " ‐ New Yorker
Posted Jan 12, 2015
No Score Yet Three Women (1924) " As the self-interested roué's plan kicks into high gear, the cynical comedy darkens to operatic drawing-room melodrama, but Lubitsch anchors the resulting violence with a piercing, subtle intimacy. " ‐ New Yorker
Posted Jan 12, 2015
100% Li'l Quinquin (2015) " The action seems to rise organically from the locale, and Dumont's grand yet intimate fiction fuses his inner world with the historical moment. " ‐ New Yorker
Posted Jan 5, 2015
No Score Yet La Poison " A miniature masterwork in itself. " ‐ New Yorker
Posted Jan 5, 2015
90% Wild (2014) " There's neither cinematic majesty to the vistas (and I saw the movie on a very big screen and sat very close to it) nor intimacy to the ground that Strayed treads. " ‐ New Yorker
Posted Jan 5, 2015
97% We Are the Best! (2014) " A pallid and terminally cutesy movie that succeeds by stoking blandly happy feelings. " ‐ New Yorker
Posted Jan 4, 2015
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