Richard Brody

Richard Brody

Agrees with the Tomatometer 80% of the time.

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

Listing Of All Reviews & Articles

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Rating T-Meter Title | Year Review
90% The Wrong Man (1956) "Hitchcock's ultimate point evokes cosmic terror: innocence is merely a trick of paperwork, whereas guilt is the human condition. " ‐ New Yorker
Posted Jun 29, 2015
No Score Yet Shukujo wa nani o wasureta ka (What Did The Lady Forget?) (1990) "Ozu catches quietly violent feelings in images of a seemingly improvisational spontaneity, and he imbues the action with an exquisitely understated eroticism. " ‐ New Yorker
Posted Jun 29, 2015
90% Tangerine (2015) "Baker revels in the power of clichés and the generic energy of his low-fi cinematography, which is done with a cell phone. The results are picturesque and anecdotal. " ‐ New Yorker
Posted Jun 29, 2015
92% A Poem Is A Naked Person (2015) "The film's good cheer seems less infectious than enforced; the cinematic embrace is stifling, and the good vibes feel overdone and oversold, like a present-tense trip of instant nostalgia. " ‐ New Yorker
Posted Jun 29, 2015
82% The Overnight (2015) "The writing is blatantly sexual but utterly unrevealing; the characters and their problems are cut to fit the airtight plot. " ‐ New Yorker
Posted Jun 22, 2015
100% The Gang's All Here (1943) "The gaudy palette of Busby Berkeley's vertiginous Technicolor musical, from 1943, inspired the director's most extravagant visual inventions ... " ‐ New Yorker
Posted Jun 22, 2015
88% An Unmarried Woman (1978) "The action unfolds with a documentary-style geographical specificity, offering a time capsule of Manhattan locations, uptown and downtown alike. " ‐ New Yorker
Posted Jun 15, 2015
95% Spy (2015) "Melissa McCarthy shines in this clever action-comedy showcase provided by the writer and director Paul Feig, but the movie's tightly contrived plot and uniformly positive emotions constrain her comic genius. " ‐ New Yorker
Posted Jun 15, 2015
No Score Yet Captain Lightfoot "Sirk is less interested in swashbuckling than in strategy: he looks at the uprising analytically, noting the bitter ironies of shrewd commanders compelled to restrain audacious warriors for the sake of the long-term struggle. " ‐ New Yorker
Posted Jun 15, 2015
94% Los Olvidados (The Young and the Damned) (1952) "The most horrifying of all films about juvenile crime. " ‐ New Yorker
Posted Jun 1, 2015
90% Magnificent Obsession (1954) "Every step depends on stifled emotions and closely guarded secrets, resulting in a buildup of operatic passion that endows everyday gestures and inflections with grandeur and nobility. " ‐ New Yorker
Posted Jun 1, 2015
No Score Yet Lola (1961) "Demy gently mocks romantic movie effects, which he employs more romantically than ever. " ‐ New Yorker
Posted Jun 1, 2015
No Score Yet Torneranno I Prati "With an intimate simplicity, Olmi evokes the decades of political and social upheavals throughout Europe that followed the fragile peace, suggesting the colossal toll of all wars. " ‐ New Yorker
Posted Jun 1, 2015
100% The Damned (These Are the Damned) (1963) "Losey's strongest critique of the times emerges with a unique stylistic flourish in his wide-screen, black-and-white images, featuring slow glides, skewed angles, standoffish perspectives, and hectic striations. " ‐ New Yorker
Posted Jun 1, 2015
No Score Yet Symbol of the Unconquered (1920) "A journalistic deep dive into the economic, social, and criminal underpinnings of the startup town as well as a literary study of the complex psychology of race relations in the North. " ‐ New Yorker
Posted Jun 1, 2015
81% Results (2015) "One of the strangest and strongest of recent romantic triangles forms in the course of this lyrical, fanatically realistic comedy, written and directed by Andrew Bujalski. " ‐ New Yorker
Posted May 25, 2015
92% Csillagosok, katonák (The Red and The White) (1967) "Jancsó organizes the swarming and scattered fighters with a stupendous, almost unnoticed virtuosity, delineating the chaotic action in precise, flowing long takes. " ‐ New Yorker
Posted May 25, 2015
90% Pickup on South Street (1953) "Fuller's pugnacious direction and his gutter-up view of city life romanticize both the criminal code of honor and the jangling paranoia of global plots; his hard-edged long takes depict underworld cruelty with reportorial wonder ... " ‐ New Yorker
Posted May 25, 2015
76% Love at First Fight (2015) "For a movie about bodily endurance and rugged adventure, Cailley's direction is oddly detached-he lets the script (which he co-wrote with Claude Le Pape) suggest the tough work and hardly bothers to film it. " ‐ New Yorker
Posted May 25, 2015
100% Le Amiche (1955) "Antonioni turns a glossy romantic melodrama of modern prosperity inside out to reveal the essence of modernity itself. " ‐ New Yorker
Posted May 25, 2015
65% Pitch Perfect 2 (2015) "Ethnic clichés abound, college comes off as a free sleepaway camp, and the simple wonders of unaccompanied singing are inflated to Las Vegas-style bombast. " ‐ New Yorker
Posted May 18, 2015
86% L For Leisure "The directors Lev Kalman and Whit Horn turn the bleary languor of graduate students slacking off into a substantial but meandering spectacle. " ‐ New Yorker
Posted May 14, 2015
100% Forbidden Films (2015) "Moeller gives opponents of censorship the last word; meanwhile, his selection of clips of the censored films offers surprising glimpses of the cinematic unconscious at work. " ‐ New Yorker
Posted May 14, 2015
No Score Yet Hitori musuko (The Only Son) (1936) "Ozu distills a lifetime of silent misunderstandings and muffled frustrations in a painful succession of false smiles and showy courtesies ... " ‐ New Yorker
Posted May 11, 2015
52% In the Name of My Daughter (2015) "The true story of a late-seventies murder case, which is well-known in France, is a ready-made classic melodrama. " ‐ New Yorker
Posted May 11, 2015
52% Saint Laurent (2015) "The movie's best moments have a shivery eroticism and a trancelike intensity. " ‐ New Yorker
Posted May 4, 2015
64% Reality (2015) "Dupieux's movie is all script twists, lacking both the naïve wonder of the films to which he pays homage and the inventive sophistication of grand Surrealist fantasy. " ‐ New Yorker
Posted May 4, 2015
No Score Yet Police Tapes (2006) "They're not passive observers; rather, they're part of the action, and the intimate revelations that they elicit become a comprehensive vision of government at work. " ‐ New Yorker
Posted May 4, 2015
43% The D Train (2015) "[A] queasy, schematic, wanly sentimental comedy ... " ‐ New Yorker
Posted May 4, 2015
83% Mikey and Nicky (1976) "A chaotic blend of comedy and horror, tenderness and brutality, self-revealing intimacy and brazen power plays. " ‐ New Yorker
Posted May 4, 2015
70% Welcome to Me (2015) "The movie's idiosyncratic delights pack a wild metaphorical punch. " ‐ New Yorker
Posted Apr 27, 2015
No Score Yet Rose Hobart (1936) "Cornell sees the very fact of popular movies, with their original and epochal power of limbic haunting, as an essential and irreducible art. " ‐ New Yorker
Posted Apr 27, 2015
33% The Pornographer (2001) "Bertrand Bonello's grimly histrionic, richly symbolic, yet somewhat on-the-nose melodrama, from 2001, which looks at the human wreckage left by the burst illusions of France's generation of May, 1968. " ‐ New Yorker
Posted Apr 27, 2015
96% Iris (2015) "Maysles endearingly reveals Apfel's blend of blind passion and keen practicality, her unflagging enthusiasm for transmitting her knowledge to young people, and her synoptic view of fashion as living history. " ‐ New Yorker
Posted Apr 27, 2015
43% Gerontophilia (2015) "The film surfs smoothly on good vibes and lulling moods; Borden, a majestic presence, deserves sterner stuff to wrangle with. " ‐ New Yorker
Posted Apr 27, 2015
No Score Yet Beggars of Life (1928) "Though the sentimental spark of love may conquer all, Wellman leaves a sour air of disgust on the dusty trail. " ‐ New Yorker
Posted Apr 27, 2015
54% The Age of Adaline (2015) "The conceit endows Lively's regal air of distracted superiority with an intermittent pathos, but the director, Lee Toland Krieger, brings no identifiable perspective, and the screenwriters ... hardly tap a century's worth of material. " ‐ New Yorker
Posted Apr 27, 2015
48% 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
81% 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
89% 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
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