Richard Brody

Richard Brody

Agrees with the Tomatometer 81% of the time.

Publications:
New Yorker
Total Reviews:
351

Listing Of All Reviews & Articles

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Showing 1 - 50 of 351
Rating T-Meter Title | Year Review
100% The Iron Mask (1929) " Dwan's deft, understated way with action sequences meshes perfectly with Fairbanks's lighthearted, light-footed acrobatics. " ‐ New Yorker
Posted Oct 20, 2014
50% Human Desire (1954) " Though the action pivots on blackmail and murder, the heart of the movie is a regular guy's struggle with the inner violence of sexual frenzy and the outer violence of war. " ‐ New Yorker
Posted Oct 15, 2014
100% Stations of the Elevated (2014) " The film's range of subjects and ideas quickly expands to probe the exhilaration of city life itself. " ‐ New Yorker
Posted Oct 13, 2014
91% Muriel ou Le Temps d'un Retour (The Time of Return) (1963) " Under Resnais's direction, the clunky reconstruction of the devastated French town is as central to the action as the characters are, creating a blank and bleak setting for their oblivious chitchat. " ‐ New Yorker
Posted Oct 13, 2014
100% The Plot Against Harry (1989) " Bares unhealed and unspoken wounds of New York Jewish life. " ‐ New Yorker
Posted Oct 6, 2014
No Score Yet Life of Riley (2014) " One of the cinema's most lighthearted and free-spirited farewells. " ‐ New Yorker
Posted Oct 6, 2014
93% A Letter to Three Wives (1949) " Despite its emotional intensity, the film is comic, effervescently so, and its magical ending lends wit a metaphysical dimension. " ‐ New Yorker
Posted Oct 6, 2014
71% Jayuui Eondeok (Hill of Freedom) " With modest means and a limited field of action, Hong achieves a complexity akin to the grand historical meditations of Alain Resnais; steering clear of explicit politics, he conjures revealing attitudes through reverberant-and often comical-details. " ‐ New Yorker
Posted Oct 6, 2014
67% The Decent One (2014) " Horrific images of beatings and shootings are adorned with isolated sound effects that seem borrowed from a comedy. The effect is repellently trivializing ... " ‐ New Yorker
Posted Oct 6, 2014
48% Cleopatra (1963) " Taylor inhabits the role with a focussed but uninhibited imperiousness, as when she turns Cleopatra's entrance into Rome, aboard a giant rolling sphinx, into the ultimate red-carpet photo op. " ‐ New Yorker
Posted Oct 6, 2014
100% Bei qing cheng shi (A City of Sadness) (1989) " The movie conveys the director's intensely personal struggle at the crossroads of large-scale history and private memory; with understatedly bitter irony, he depicts the birth of a nation at the price of a family's dissolution. " ‐ New Yorker
Posted Oct 6, 2014
100% Heaven Knows What " New York-based brothers Josh and Benny Safdie look past Manhattan's glossy surfaces to reveal an underworld of homeless young heroin addicts hidden in plain sight. " ‐ New Yorker
Posted Sep 29, 2014
No Score Yet La princesa de Francia (The Princess Of France) " The action takes place in streets and bedrooms, studios and museums, and the actors are never word-bound; Piñeiro, a master choreographer, sets them in graceful motion and captures them in fluid, lively images. " ‐ New Yorker
Posted Sep 29, 2014
74% Jimi: All Is by My Side (2014) " Most of the action occurs below the surface -- genius giving birth to ideas, ambition crystallizing into action -- and, at times, Ridley's direction evokes the inner life with subtle invention. " ‐ New Yorker
Posted Sep 25, 2014
20% Let's Be Cops (2014) " The chillingly gung-ho darkness that Johnson lends his comic riffs would be the story, if only the director, Luke Greenfield, didn't play the movie solely for laughs, which are few and far between. " ‐ New Yorker
Posted Sep 22, 2014
90% Wetlands (2014) " An absurdly simplistic family drama; the movie's apparent audacity isn't even skin deep. " ‐ New Yorker
Posted Sep 22, 2014
87% The Skeleton Twins (2014) " The direction has no style, and the script has no perspective; the result is drama by number. " ‐ New Yorker
Posted Sep 22, 2014
79% Distant Voices, Still Lives (1988) " With an unfailing eye for place, décor, costume, and gesture, the director glides his camera through tangles of memories to evoke joys and horrors with a similar sense of wonder. " ‐ New Yorker
Posted Sep 22, 2014
No Score Yet 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
No Score Yet Chronicle of a Summer (1965) " The results are a shock. " ‐ New Yorker
Posted Sep 15, 2014
No Score Yet 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
No Score Yet 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
81% 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
68% 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
78% 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
90% 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
69% They Came Together (2014) " The leering title is the wittiest thing in this amiable comic misfire. " ‐ New Yorker
Posted Jun 23, 2014
72% 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
14% 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
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