Richard Brody

Richard Brody

Agrees with the Tomatometer 79% 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
89% Straight Outta Compton (2015) "The core of the story is business, the object is power, and the quirks of desire and twists of the unconscious are given no place in the struggle-which the movie sharply carries ahead to the present day. " ‐ New Yorker
Posted Aug 24, 2015
83% The Mend (2015) "Despite the willful worldliness of the high-stakes emotional games, the movie's downbeat street poetry devolves into moody clichés. " ‐ New Yorker
Posted Aug 24, 2015
65% Digging For Fire (2015) "A happy couple's submerged tensions come to the surface in Joe Swanberg's tender, wildly imaginative comic drama. " ‐ New Yorker
Posted Aug 24, 2015
47% American Ultra (2015) "Nourizadeh, working with a script by Max Landis, plays Mike's bloody violence like visual guitar riffs, and approaches the martial-arts set pieces with heavily underlined wit. " ‐ New Yorker
Posted Aug 24, 2015
100% Alice in den Städten (Alice in the Cities) (1974) "With this film, Wenders crystallized his style of existential sentimentality. " ‐ New Yorker
Posted Aug 24, 2015
88% Le Plaisir (House of Pleasure) (1999) "The director, Max Ophüls, reshapes the material with his distinctive blend of visual genius and bitter, worldly wisdom. " ‐ New Yorker
Posted Aug 3, 2015
91% Metropolitan (1990) "Stillman films these rounds of romance and jealousy, old mind-sets and new friendships, as scintillating dialectical jousts in which verbal blows take the place of action and leave lasting emotional wounds. " ‐ New Yorker
Posted Aug 3, 2015
No Score Yet A Matter of Time (1976) "A bittersweet masterwork about the raging and frustrated passions of old age. " ‐ New Yorker
Posted Aug 3, 2015
96% Listen To Me Marlon (2015) "Brando reflects on his contribution to the art of the movies; his view seems to shift over the years from pride to cynicism, but Riley doesn't identify the recordings by date. Rather, he melds them into a banal concoction that's unworthy of their source. " ‐ New Yorker
Posted Aug 3, 2015
76% Five Star (2015) "The writer and director, Keith Miller, establishes engaging characters but stifles their thoughts and emotions, sets up dramatic situations but avoids their practicalities and implications. " ‐ New Yorker
Posted Aug 3, 2015
100% Early Spring (Soshun) (1974) "Ozu's despairing view of postwar Japan looks as harshly at blind modernization as it does at decadent tradition. " ‐ New Yorker
Posted Aug 3, 2015
60% Southpaw (2015) "The modicum of pleasure delivered by "Southpaw" arrives thanks to its cast, who struggle bravely and energetically with the hopelessly bland text and the invisible, impersonal direction. " ‐ New Yorker
Posted Jul 29, 2015
99% Phoenix (2015) "The cinematic equivalent of a page-turner, no more and no less. " ‐ New Yorker
Posted Jul 27, 2015
No Score Yet Bed of Roses "Like a novelist, La Cava deftly unfolds, as if in a single breath, a sardonic panorama of American hustle. " ‐ New Yorker
Posted Jul 20, 2015
39% Irrational Man (2015) "Allen's sketch of the campus owes nothing to observations of real students or teachers; the setting and the setup are living abstractions that the trio of lead actors invest with their own vital whimsy. " ‐ New Yorker
Posted Jul 20, 2015
71% The Rise and Fall of Legs Diamond (1960) "A strange, cold, sordid movie about a strange, cold, sordid gangster. " ‐ New Yorker
Posted Jul 13, 2015
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
95% 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
83% 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
94% 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
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
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
51% Saint Laurent (2015) "The movie's best moments have a shivery eroticism and a trancelike intensity. " ‐ New Yorker
Posted May 4, 2015
65% 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
44% 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
71% 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
97% 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
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