Richard Brody

Richard Brody

Agrees with the Tomatometer 83% of the time.

Publications:
New Yorker
Total Reviews:
283

Listing Of All Reviews & Articles

Showing 1 - 50 of 283
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Rating T-Meter Title | Year Add Date
—— Une belle fille comme moi (A Gorgeous Bird Like Me)(Such a Gorgeous Kid Like Me) (1978) " Lafont's antic embodiment of feminine ferocity cuts cleverly against Truffaut's grim vision of a world that both represses and craves it, and the comedy masks the endless round of victimhood." — New Yorker
Posted Apr 14, 2014
—— Summer of Blood " The vestigial desolation of urban waste spaces is nearly a character in the antic action; when the story's gears grind, Tukel gives it a metaphysical kick that lends its final arc an eerie spin." — New Yorker
Posted Apr 14, 2014
—— Jewel Robbery (1932) " The erotic edge of looming danger, the sexual charge of a sure and confident touch, the thrilling distinction between true refinement and mere formality electrify this 1932 Hollywood drama ..." — New Yorker
Posted Apr 14, 2014
80% Rhythm Thief (1995) " A time capsule for the street life of the ungentrified Lower East Side-and the meanness of those streets is the engine of its drama." — New Yorker
Posted Apr 14, 2014
92% Journey To The West (2014) " Liang's ravishing conceptual film achieves a rare blend of sensuous delight and documentary specificity." — New Yorker
Posted Apr 14, 2014
55% Fading Gigolo (2014) " This vulgar and outlandish locker-room tale is written, directed, and performed by John Turturro with such sincerity, relish, heart, and good humor that it almost sneaks through ..." — New Yorker
Posted Apr 14, 2014
100% The King of Escape (2014) " [A] bumptious yet tender comedy." — New Yorker
Posted Apr 9, 2014
96% Out of the Past (1947) " Each change of angle and shift of light evokes an inner disturbance; the actors seem to push through the dense shadow as through water, revealing fast people in slow motion ..." — New Yorker
Posted Apr 7, 2014
89% Alphaville (1965) " It's one of the great cinematic works of romanticism, as well as a sort of filmed revelation of the very essence of science-fiction movies and German silent classics -- their blend of social critique, emotional liberation, and paranoia." — New Yorker
Posted Apr 1, 2014
83% The Unknown Known (2014) " Morris proceeds with bonhomie and patience in this documentary interrogation of Donald Rumsfeld; the result is a masterwork of political epistemology and dialectical jujitsu." — New Yorker
Posted Mar 31, 2014
80% Hide Your Smiling Faces (2014) " Testosterone rises like mist on an early-morning lake in Daniel Patrick Carbone's grimly determined, prettily picturesque first feature." — New Yorker
Posted Mar 24, 2014
78% Història de la meva mort (Story of My Death) " Brings exotic passions of the eighteenth century to furious life." — New Yorker
Posted Mar 24, 2014
98% Jodorowsky's Dune (2014) " A fascinating and depressing documentary about a visionary director and his impossible dream." — New Yorker
Posted Mar 24, 2014
99% The Missing Picture (2014) " Panh honors the Khmer Rouge's victims while staging the agony and responsibility of memory itself." — New Yorker
Posted Mar 17, 2014
—— Edward, My Son (1949) " The movie silently shrieks under the pressure of constant, hectic fear." — New Yorker
Posted Mar 17, 2014
92% Fantastic Mr. Fox (2009) " Visually, the movie is a wonder, with its profusion of detail and exquisitely focussed "performances" by the figurines, whom Anderson frames in images as precisely composed as those in his live-action work." — New Yorker
Posted Mar 11, 2014
88% Stage Fright (1950) " Hitchcock conjures a deep-rooted, irony-rich complicity of father and daughter that seems borrowed from the films of Howard Hawks and suggests the inner compass that helps to guard against chasing the wrong man." — New Yorker
Posted Mar 10, 2014
83% Teenage (2014) " A delightful and substantial provocation, and something of a cheat." — New Yorker
Posted Mar 10, 2014
96% The Lunchbox (2014) " This gentle romantic drama, by the Indian director Ritesh Batra, packs twenty minutes of action into its hour-and-three-quarters running time." — New Yorker
Posted Mar 3, 2014
58% Under Capricorn (1949) " Giddily atypical in its style even as it explores lurid new byways of Hitchcock's familiar obsessions." — New Yorker
Posted Mar 3, 2014
79% Bethlehem (2014) " The suspense plot is effective yet familiar; the direction is brisk, even hasty, and impersonal." — New Yorker
Posted Mar 3, 2014
98% Sunrise: A Song of Two Humans (1927) " For his Hollywood début, in 1927, the German director F. W. Murnau brought a slender story to life with a breathtaking display of cinematic virtuosity, creating one of the masterworks of the art form." — New Yorker
Posted Feb 25, 2014
100% All About Eve (1950) " Joseph Mankiewicz was Hollywood's midcentury master of comic drama, and All About Eve, from 1950, was one of his signal achievements." — New Yorker
Posted Feb 25, 2014
98% Annie Hall (1977) " Allen joins the Catskills tummler's anything-for-a-laugh antics with a Eurocentric art-house self-awareness and a psychoanalytic obsession in baring his sexual desires and frustrations, romantic disasters, and neurotic inhibitions." — New Yorker
Posted Feb 10, 2014
86% 500 Days of Summer (2009) " Forcedly cute, clumsily mechanical, overdetermined, and undernourished, this ostensibly soulful romance is a plastic void." — New Yorker
Posted Feb 10, 2014
88% Tim's Vermeer (2014) " As mechanical as the procedure it depicts." — New Yorker
Posted Feb 10, 2014
87% Lola Montès (The Fall of Lola Montes) (The Sins of Lola Montes) (1955) " This exacting and sumptuous restoration of Max Ophüls's last film, from 1955, recovers not just the movie's look but also its meaning." — New Yorker
Posted Feb 10, 2014
95% Child's Pose (2014) " Netzer offers a bland simulacrum of documentary reality that lines up precisely with his clichéd prejudices. But in the few moments when spontaneous emotion takes over, surprising moments of grace arise." — New Yorker
Posted Feb 10, 2014
85% Secret Défense (1999) " With suave and feline images by the cinematographer William Lubtchansky, Rivette offers a virtual documentary on modern bourgeois solitude ..." — New Yorker
Posted Feb 3, 2014
88% Ms. 45 (2013) " With Grand Guignol relish, Ferrara depicts a city in the throes of a Wild West lawlessness that invites vigilante action." — New Yorker
Posted Feb 3, 2014
100% Manila In The Claws Of Light (1975) " The vicious depredations of the urban jungle have rarely been bared with such fierce clarity as in this 1975 melodrama, directed by Lino Brocka." — New Yorker
Posted Feb 3, 2014
100% Listen Up Philip " I can't think of a recent movie that stages with as much joy and wonder the sense of living a life that becomes, directly or obliquely, in action or in idea, the stuff of art." — New Yorker
Posted Jan 29, 2014
—— Marvin Seth and Stanley (2014) " As for Marvin Gurewitz, he's got the role of a lifetime, and he invests it with a lifetime of experience and just the tinge of bemused irony that keeps the story away from bathos and sentiment." — New Yorker
Posted Jan 28, 2014
100% Gold Diggers of 1933 (1933) " The movie thrives and survives on Berkeley's genius; for all his spectacular theatrical flair, he's a sociobiologist in rhythm." — New Yorker
Posted Jan 27, 2014
—— One Day Pina Asked Me " One of the greatest of all syntheses of dance and cinema." — New Yorker
Posted Jan 27, 2014
83% The Lady from Shanghai (1948) " Welles and Hayworth were married at the time; he gives her closeups of unmatched rapture even while allegorizing his own fate as a free spirit caught in the trap of Hollywood's delusional pleasure dome." — New Yorker
Posted Jan 27, 2014
91% 12 O'clock Boys (2014) " In slow-motion shots, Nathan captures the riders' pride in mastery and thrill in adventure." — New Yorker
Posted Jan 27, 2014
95% Stranger by the Lake (2014) " The film is a Hitchcockian murder story in which the Hitchcockian elements-style as well as content-are stood on their heads in order to realize a philosophical vision that's no less sophisticated than Hitchcock's own." — New Yorker
Posted Jan 24, 2014
66% The Blind Side (2009) " The movie is done with crispness, vigor, down-home humor, and an over-all tang of good feeling, but the pushing of buttons is the work of extraordinary calculation." — New Yorker
Posted Jan 24, 2014
25% 24 Exposures (2014) " In this sleek yet confessional drama by the prolific filmmaker Joe Swanberg, the boundaries of art and life are probed with a knowing yet uneasy directness." — New Yorker
Posted Jan 21, 2014
68% Visitors (2014) " A calculated philosophical emptiness pervades the solemnly contemplative, minutely gliding, powdery-matte images of this visual symphony by the director Godfrey Reggio." — New Yorker
Posted Jan 21, 2014
100% There Was a Father (1942) " Within the framework of the aching melodrama the director daringly highlights the weight of tradition and duty that crushes the individual spirit." — New Yorker
Posted Jan 21, 2014
—— That Old Dream That Moves " With poised and incisive images, the director finds the energizing fault lines in the loam of local culture and melds hulking industrial strength with the luminous enticements of the landscape." — New Yorker
Posted Jan 21, 2014
—— Un Voyageur " [Director] Marcel Ophüls ("The Sorrow and the Pity"), now eighty-six, delivers a self-portrait that ranges from the harshly self-revealing to the cheerfully self-promoting. " — New Yorker
Posted Jan 15, 2014
—— Shonen (Boy) (1969) " Nagisa Oshima offers a quietly bilious vision of mercenary corruption and postwar trauma." — New Yorker
Posted Jan 13, 2014
—— Naked Dawn (1955) " Politics and romance, shocking violence and playful adventure converge in this modern-day Western, from 1955, by Edgar G. Ulmer." — New Yorker
Posted Jan 13, 2014
—— Ruthless (1948) " Ulmer's approach is monumental and detailed, baroquely gestural and coldly violent." — New Yorker
Posted Jan 6, 2014
77% The Wolf of Wall Street (2013) " Scorsese unleashes a furious, yet exquisitely controlled, kinetic energy, complete with a plunging and soaring camera, mercurial and conspicuous special effects, counterfactual scenes, subjective fantasies, and swirling choreography on a grand scale." — New Yorker
Posted Dec 29, 2013
100% Stalker (1979) " Tarkovsky realizes the allegorical tale with an overwhelming density of visual detail ..." — New Yorker
Posted Dec 16, 2013
75% Anchorman 2: The Legend Continues (2013) " A dash of outrageous visual humor (notably, in a car-wreck scene) and crazily crude sex talk can't compensate for the formulaic stiffness that dominates ..." — New Yorker
Posted Dec 16, 2013
Showing 1 - 50 of 283
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