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
80% 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
67% 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
67% 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
No Score Yet 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
57% 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
55% Saint Laurent (2015) "The movie's best moments have a shivery eroticism and a trancelike intensity. " ‐ New Yorker
Posted May 4, 2015
67% 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
69% 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
98% 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
49% 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
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
11% 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
89% 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
93% 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
96% 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
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