Critics » Richard Brody
Richard Brody

Richard Brody

Agrees with the Tomatometer 82% of the time.

Publications:
New Yorker
Total Reviews:
204

Listing Of All Reviews & Articles

Showing 1 - 50 of 204
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Rating T-Meter Title | Year Add Date
89% The Immigrant () " The ambient fury of the director James Gray's teeming historical drama is built into the very fabric of his tensely unbalanced wide-screen images." — New Yorker
Posted Sep 30, 2013
—— Când se lasa seara peste Bucuresti sau metabolism (When Evening Falls on Bucharest or Metabolism) () " With the dry wit of his shrewdly repressed long takes, Porumboiu puts dialectic front and center and speculates on the artistic implications of digital technology, even as he turns to medical imaging for some outrageously moist comedy." — New Yorker
Posted Sep 30, 2013
80% I Used To Be Darker (2013) " A lyrical ballad on an intimate scale but international in scope." — New Yorker
Posted Sep 30, 2013
—— Nugu-ui ttal-do anin Haewon (Nobody's Daughter Hae-Won) () " The title and setup of the South Korean director Hong Sang-soo's ironically romantic drama are a scintillating ruse." — New Yorker
Posted Sep 23, 2013
95% Bringing Up Baby (1938) " The enduring fascination of this 1938 screwball comedy is due to much more than its uproarious gags." — New Yorker
Posted Sep 23, 2013
75% Antoine et Antoinette (2013) " The director Jacques Becker laces this snappy, sentimental comic melodrama, from 1947, with streetwise details, from the stress and danger of factory work to the wiles of philandering housewives." — New Yorker
Posted Sep 23, 2013
78% Good Ol' Freda (2013) " [A] warmhearted documentary portrait ..." — New Yorker
Posted Sep 16, 2013
—— Soft In The Head () " Nathan Silver's raucous, disturbing new film is a shrewdly conceived yet emotionally unhinged blend of uproarious situations and devastating outcomes." — New Yorker
Posted Sep 16, 2013
—— A Girl in Every Port (1928) " Hawks was a master of time, with slow builds that leap dizzyingly ahead in the flash of a glance; the unstable pace keeps the action balanced on the sharp edge of tragedy and comedy-and, in the years to come, he'd use this setup for both." — New Yorker
Posted Sep 16, 2013
95% Enough Said (2013) " What matters is Gandolfini, whose languid, burry diction and Buddha-like poise set the simplest lines and deeds spinning with life-worn worlds of feeling." — New Yorker
Posted Sep 16, 2013
87% The Thing from Another World (1951) " Set the template for a decade of alien invasions." — New Yorker
Posted Sep 16, 2013
33% Jayne Mansfield's Car (2013) " There's a terrific movie struggling to escape from this overplotted, overedited, overdetermined stew ..." — New Yorker
Posted Sep 16, 2013
34% Passion (2013) " Despite De Palma's lavish proof of what he can accomplish with classical technique, the movie comes off as too much for too little, a collection of mechanisms that decorate mechanisms." — New Yorker
Posted Sep 2, 2013
23% A Teacher (2013) " The script offers neither verbal illuminations nor practical insights, neither psychology nor morality, and the plot is little more than the reportorial backstory to a tabloid headline." — New Yorker
Posted Sep 2, 2013
100% Battleship Potemkin (1925) " The cinema's first modernist... was the Soviet director Sergei Eisenstein. As his most famous work, Battleship Potemkin, from 1925, shows, his analytical, quasi-scientific methods bore the mark of both aesthetic and political upheavals." — New Yorker
Posted Aug 21, 2013
96% Nosferatu, a Symphony of Horror (Nosferatu, eine Symphonie des Grauens) (Nosferatu the Vampire) (1922) " The metaphysical style is most vividly rendered by Murnau's obsessive use of point-of-view shots, which force a viewer to follow the characters into the abyss of their terrifying visions." — New Yorker
Posted Aug 21, 2013
80% True Heart Susie (1919) " The psychological subtlety of the silent cinema owes much to a complex visual grammar that D. W. Griffith employed to tell surprisingly old-fashioned stories." — New Yorker
Posted Aug 21, 2013
100% Abraham Lincoln (1930) " D. W. Griffith's first sound film, from 1930, is as ungainly and majestic as its subject." — New Yorker
Posted Aug 19, 2013
100% The Birth of a Nation (1915) " Problematically, Birth of a Nation wasn't just a seminal commercial spectacle but also a decisively original work of art -- in effect, the founding work of cinematic realism, albeit a work that was developed to pass lies off as reality." — New Yorker
Posted Aug 19, 2013
81% Ain't Them Bodies Saints (2013) " The feel of the movie is intimate and handmade, as if Lowery were renewing, lovingly and poignantly, the landscape's ruined landmarks and infusing them with his own memories and dreams." — New Yorker
Posted Aug 19, 2013
80% Drinking Buddies (2013) " This brisk and exuberant comedy, directed by Joe Swanberg, is powered by a strong current of romantic melancholy." — New Yorker
Posted Aug 19, 2013
20% Girl Most Likely (2013) " Kristen Wiig's comic artistry and its melodramatic tinge are squandered in this frenetic, schematic comedy, which also lays waste to a fertile premise." — New Yorker
Posted Jul 29, 2013
100% The Gold Rush (1925) " Chaplin is the apotheosis of the world's despised and downtrodden, and also their hope; he heralds a revolution in anarchic beauty." — New Yorker
Posted Jul 29, 2013
92% Persona (1966) " Bergman blends a theatrical subjectivity with a tactile visual intimacy, with his characters, the objects close at hand, and the superb coastal landscape." — New Yorker
Posted Jul 23, 2013
—— Centro Histórico (2013) " Oliveira offers a simple and rarefied lesson in vision, finding blazingly clear angles to reveal ancient wonders in a renewed immediacy ..." — New Yorker
Posted Jul 15, 2013
100% The Big Trail (1930) " Integrating the settlers' passionate mortal conflicts into the landscape, Walsh turns the theatrical limitations of early sound technique to an advantage, composing vast, static tableaux with the mighty breadth and noble pace of epic stanzas." — New Yorker
Posted Jul 15, 2013
60% Les Coquillettes () " Much of the action is displaced to Facebook and text messages, and the conspicuous dubbing of voices throughout gives this vertiginous, documentary-style comedy the air of a live-action cartoon." — New Yorker
Posted Jul 15, 2013
83% Computer Chess (2013) " Bujalski ... brings the designs and fashions of the time-and, even better, its moods and ideas-cleverly and joyfully back to life." — New Yorker
Posted Jul 15, 2013
93% The Apartment (1960) " Wilder, a bilious and mercurial wit, here becomes a wide-screen master of time ..." — New Yorker
Posted Jul 1, 2013
92% This Is Martin Bonner (2013) " The writer and director, Chad Hartigan, transforms the potentially maudlin premise into a luminous reach for grace." — New Yorker
Posted Jul 1, 2013
99% Short Term 12 (2013) " Subtly inverting the story's point of view, Cretton sees his protagonists through the eyes of the teens and gets to the ineffable core of trust." — New Yorker
Posted Jul 1, 2013
88% Ohayo (Good Morning) (1959) " [Ozu's] sense of generational conflict in a society at risk from within is here at its sharpest and most anarchic." — New Yorker
Posted Jul 1, 2013
65% The Heat (2013) " The many formulas never mesh, and some formidable actors stumble trying to keep pace with its out-of-synch meters." — New Yorker
Posted Jul 1, 2013
—— Silver Lode (1954) " In its understated lucidity, this 1954 Western, directed by Allan Dwan, is one of the greatest." — New Yorker
Posted Jul 1, 2013
94% Fruitvale Station (2013) " The movie is the model of decency and respect, and does honor to a life unjustly ended; it offers few surprises but is nonetheless shocking." — New Yorker
Posted Jul 1, 2013
80% Laurence Anyways (2013) " Poupaud's quiet moments convey a lofty, poignant introspection, and Clément erupts with grand, if scattershot, furies." — New Yorker
Posted Jul 1, 2013
59% The Bling Ring (2013) " Daring to face these often noxious, seemingly empty phenomena on aesthetic terms, and taking on a degree of their flatness and simplicity, Coppola renders them surprisingly substantial." — New Yorker
Posted Jun 21, 2013
88% Hannah Arendt (2013) " Von Trotta includes actual footage of Eichmann's trial, simultaneously trivializing it and diminishing the rest of the movie to the vanishing point." — New Yorker
Posted Jun 3, 2013
—— Frontier Marshal () " Even the heroes' daring on behalf of justice has an ugly, raw blankness that Dwan films with a nerve-jangling clatter of graphic angles, leaving the fleeting moments of solitary contemplation all the more desolate." — New Yorker
Posted Jun 3, 2013
75% The East (2013) " This absurdly superficial and tendentious drama, directed with no distinction, wastes a superb cast in the interest of self-righteous attitudinizing." — New Yorker
Posted May 27, 2013
—— When Night Falls () " Ying's work of memory, reconstruction, and empathy blends a coolly analytical style with a fierce yet quiet passion; his canny way with refracted representations turns lightly idealized modernism into a powerful version of political documentary." — New Yorker
Posted May 20, 2013
76% Augustine (2013) " Vague conjurings of mood take the place of insight, sentiment takes the place of complexity, and a clumsy and superficial attention to the rigid script keeps the movie from coming to life." — New Yorker
Posted May 20, 2013
84% Fill the Void (2013) " This romantic melodrama, written and directed by Rama Burshtein, has an irresistible allure despite its bathetic drift." — New Yorker
Posted May 20, 2013
100% The Flame and the Arrow (1950) " Tourneur, working with a script by Waldo Salt, turns the medieval action-adventure tale into a symbol of the French Resistance in the Second World War and locates its roots in class warfare." — New Yorker
Posted May 13, 2013
93% Frances Ha (2013) " Frances is an artist whose medium is life itself, and Baumbach, his camera open with calm adoration, channels her waves of wonder and possibility." — New Yorker
Posted May 13, 2013
93% Les Cousins (1959) " The director tackles his great theme-the puncturing of bourgeois moralism, albeit at a price-with a joyful, quasi-Nietzschean derision." — New Yorker
Posted May 13, 2013
90% Wanda (1971) " If there is a female counterpart to John Cassavetes, Barbara Loden is it." — New Yorker
Posted May 3, 2013
—— Crime in the Streets () " The film is built around long takes of tightly composed performances, culminating in a bravura four-minute shot with entrances and exits brilliantly orchestrated by the commanding presence of Cassavetes." — New Yorker
Posted May 3, 2013
94% A Woman Under the Influence (1975) " The primal violence that binds men and woman has rarely been evoked as plausibly or intensely as in this 1974 drama." — New Yorker
Posted May 3, 2013
Showing 1 - 50 of 204
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