Richard Brody Movie Reviews & Previews - Rotten Tomatoes

Richard Brody

Richard Brody
Richard Brody's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): New Yorker

Movie Reviews Only

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Showing 51 - 100 of 712
Rating T-Meter Title | Year Review
68%

Voyage of Time: Life's Journey (2016)

"It's an experience that I haven't been able to shake, like a waking dream." ‐New Yorker
Posted Sep 8, 2016
100%

Cameraperson (2016)

"Somewhat less than the sum of its parts, yet those parts are, in themselves, transfixing." ‐New Yorker
Posted Sep 5, 2016
88%

Mia Madre (2016)

"A story that, for all its well-crafted and sharply observed drama and its flamboyant comedy, is something more than a work of personal cinema-it's a virtual manifesto for it ..." ‐New Yorker
Posted Aug 29, 2016
70%

White Girl (2016)

"The power of [its] premises makes the movie's vain sensationalism all the more unfortunate." ‐New Yorker
Posted Aug 29, 2016
67%

Plan 9 from Outer Space (1959)

"Wood lacked both the dramatic sense to unfold his speculations in action and the technique (as well as the money) to embody, in any plausible way, his spectacular fancies, but their crude approximations vibrate with his stifled exaltation." ‐New Yorker
Posted Aug 29, 2016
100%

David Holzman's Diary (1967)

"This ingenious, scruffy 1967 metafiction by Jim McBride is an exotic fruit grown in New York from the seed of the French New Wave." ‐New Yorker
Posted Aug 29, 2016
100%

Happy Hour (Happî awâ) (2015)

"Hamaguchi is a genius of scene construction, turning the fierce poetry of painfully revealing and pugnaciously wounding dialogue into powerful drama that's sustained by a seemingly spontaneous yet analytically precise visual architecture." ‐New Yorker
Posted Aug 26, 2016
92%

Southside With You (2016)

"This tender, intimate drama has the grand resonance of a historical epic." ‐New Yorker
Posted Aug 22, 2016
83%

Kate Plays Christine (2016)

"A tour de force in the blending and bending of genres." ‐New Yorker
Posted Aug 22, 2016
59%

War Dogs (2016)

"The characters have no memories, no identities, no range of interests, no personal connections, no idiosyncrasies beyond the dictates of the plot and the numbingly clear point that the filmmakers use it to make." ‐New Yorker
Posted Aug 21, 2016
98%

Hell or High Water (2016)

"The action is as schematic and artificial as a chess game, and the characters have as much identity as its pieces." ‐New Yorker
Posted Aug 15, 2016
86%

Pete's Dragon (2016)

""Pete's Dragon" conjures the primordial power of fantasy itself." ‐New Yorker
Posted Aug 12, 2016
No Score Yet

Pull My Daisy (1959)

"There's no story to speak of, and, in fact, there's no dialogue: the hilarity emerges from the way Kerouac's non-stop voice-over narration gives breezy comic ripples to seemingly spontaneous shenanigans." ‐New Yorker
Posted Aug 1, 2016
No Score Yet

Phffft! (1954)

"Holliday, famous for portraying ditzes of accidental genius, here plays someone like herself-a smart and worldly woman whose professional life requires her to dumb down." ‐New Yorker
Posted Aug 1, 2016
67%

The Marrying Kind (1952)

"Despite its buoyant tone and comic energy, George Cukor's drama of scenes from a marriage, as viewed in flashback by a couple in divorce court, is a scathing work of New York neorealism." ‐New Yorker
Posted Aug 1, 2016
No Score Yet

Na Srebrnym Globie (1988)

"It's among the most visually extravagant films ever made." ‐New Yorker
Posted Jul 25, 2016
81%

Equity (2016)

"Menon's direction is merely efficient, but the script, by Amy Fox ... gives the women's personal lives equal weight, as they struggle to balance family and work and face male clients whose interests aren't all business." ‐New Yorker
Posted Jul 25, 2016
100%

Le Deuxième souffle (Second Breath) (1966)

"Melville distills emotions to rarefied minimalist gestures ... and offers a stringent morality of self-discipline, both his heroes' and his own." ‐New Yorker
Posted Jul 25, 2016
92%

The Seventh Fire (2016)

"[A] deeply textured, rueful documentary ..." ‐New Yorker
Posted Jul 18, 2016
36%

Mike and Dave Need Wedding Dates (2016)

"A fine cast goes to waste in this risk-free and cliché-riddled comedy, loosely based on a true story." ‐New Yorker
Posted Jul 18, 2016
99%

Don't Think Twice (2016)

"[An] amiable, lovingly detailed comedy about comedy ..." ‐New Yorker
Posted Jul 18, 2016
93%

Under The Sun (2016)

"The vision of such severe regimentation is shocking; Zin-mi's tears of shame and her sharply limited range of knowledge and inhibited behavior embody an outrage." ‐New Yorker
Posted Jul 5, 2016
100%

The Shooting (1967)

"Hellman's tight telephoto shots press the characters entomologically against the barren landscape; he revels in the technical charms of the medium and the scruffiness of his B-movie budget as audaciously as a French New Wave director." ‐New Yorker
Posted Jul 5, 2016
78%

The Shallows (2016)

"Lively's melodramatic power remains untapped." ‐New Yorker
Posted Jul 5, 2016
92%

Opening Night (1977)

"Cassavetes's most cleverly constructed film is also a definitive lesson in the death-defying, all-consuming art of acting, proof of a madness beyond the Method." ‐New Yorker
Posted Jul 5, 2016
35%

The Legend of Tarzan (2016)

"The plot of the classic adventure tale has been admirably reconfigured to meet modern sensibilities, but the resulting film is simplistic, condescending, and inert." ‐New Yorker
Posted Jul 5, 2016
90%

The King of Comedy (1983)

"Scorsese infuses this tale with the passionate energy of New York street life and an outsider's wonder at the powerful workings of show business and studio craft." ‐New Yorker
Posted Jun 27, 2016
47%

Free State of Jones (2016)

"The director and screenwriter Gary Ross illuminates immense historical spans with the true story of one man's revolt during the Civil War." ‐New Yorker
Posted Jun 27, 2016
70%

Central Intelligence (2016)

"The window-smashing and car-crashing offer some giddy surprises, but the ridiculous yet bland gunplay is as generic as the setup." ‐New Yorker
Posted Jun 27, 2016
75%

The BFG (2016)

"The film's technical achievements may be complex, but its emotions are facile." ‐New Yorker
Posted Jun 27, 2016
68%

Swiss Army Man (2016)

"This excruciatingly cute fantasy, identified since its Sundance première as the "farting corpse movie," lives up to that epithet." ‐New Yorker
Posted Jun 20, 2016
95%

Nuts! (2016)

"Lane revels in the story's playfully nostalgic wonders without stinting on its implications or its passions." ‐New Yorker
Posted Jun 20, 2016
100%

Daisy Kenyon (1947)

"Rarely have love and madness seemed so fruitfully allied." ‐New Yorker
Posted Jun 20, 2016
34%

Now You See Me 2 (2016)

"The movie offers neither the astonishment of the magicians' artistry nor a dramatic view of how they do it." ‐New Yorker
Posted Jun 13, 2016
No Score Yet

Not Wanted (1949)

"A startling blend of compassion and invention." ‐New Yorker
Posted Jun 13, 2016
49%

Genius (2016)

"John Logan's script is a jigsaw puzzle of clichés, and Michael Grandage's direction is antiseptic, but a few moments ... conjure the editor's forceful devotion." ‐New Yorker
Posted Jun 13, 2016
90%

The Witness (2016)

"The movie's one reënactment-an ingenious experiment in forensics and social science-unites drama, journalism, and first-hand experience in a masterstroke of pure cinema." ‐New Yorker
Posted May 30, 2016
96%

Weiner (2016)

"His vanity and his political flair, his authentic talent and his weakness of character come off as inseparable." ‐New Yorker
Posted May 30, 2016
73%

Hi, Mom! (1970)

"De Palma offers a self-conscious time capsule of downtown sights and moods, especially in his rambunctious, hilarious, yet nonetheless disturbing parodies of public television." ‐New Yorker
Posted May 30, 2016
97%

The Fits (2016)

"The movie's natural sweetness vibrates with mysteries." ‐New Yorker
Posted May 30, 2016
80%

Dance, Girl, Dance (1940)

"Arzner films it with fascination and enthusiasm, and the choreography is marked by the point of view of the spectators and the dancers' awareness that they're being watched." ‐New Yorker
Posted May 30, 2016
82%

Chevalier (2016)

"The story congeals in the rigid and narrow script, and Tsangari films it with a generic impersonality." ‐New Yorker
Posted May 30, 2016
62%

Neighbors 2: Sorority Rising (2016)

"A bit of self-awareness goes a long way in elevating this comedy sequel above the 2014 original." ‐New Yorker
Posted May 23, 2016
58%

Money Monster (2016)

"The frenzied drama has no clear point of view besides its air of celebrity condescension." ‐New Yorker
Posted May 23, 2016
84%

Maggie's Plan (2016)

"It's whimsy in a void: the characters have little connection, motivation, context, or substance." ‐New Yorker
Posted May 23, 2016
64%

In the Year of 13 Moons (In einem Jahr mit 13 Monden) (1978)

"In Fassbinder's portrait of the gleamingly rebuilt Frankfurt as an emotionally devastated wasteland, Fascism-the need of some to dominate and of others to endure-comes off as a woeful constant of the heart." ‐New Yorker
Posted May 23, 2016
No Score Yet

Hallelujah the Hills (1962)

"These cinematic idiots savants, forerunners of the criminal duo in "Band of Outsiders," come off as the self-aware worshippers of clichés that everyone else in their eccentric orbit lives out blindly." ‐New Yorker
Posted May 23, 2016
84%

The Meddler (2016)

"Scafaria's sympathetic intentions fall to simplistic setups and easy resolutions. She offers the characters no significant traits beside their functions in the action; the movie coasts on the charm of the actors, whom the director coaxes to mug ..." ‐New Yorker
Posted May 16, 2016
86%

Bonjour Tristesse (1958)

"A brilliant dialectical filmmaker, Preminger extracts the last ounce of pathos from the anguish of the mute witness." ‐New Yorker
Posted May 16, 2016
97%

Ninotchka (1939)

"The romantic roundelay, linking fine emotions with fine lingerie, is shadowed by the brutality of Soviet tyranny." ‐New Yorker
Posted May 9, 2016
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Showing 51 - 100 of 712