Richard Brody
Richard Brody's reviews only count toward the Tomatometer when
published at the following Tomatometer-approved publication(s):
New Yorker
| Publications: | New Yorker |
Movie Reviews Only
| Rating | T-Meter | Title | Year | Review |
|---|---|---|---|
| 86% | Wobble Palace (2018) |
Neither character offers much more than a handful of idiosyncrasies, which, nonetheless, are often funny, poignant, and clever.‐ New Yorker
Read More | Posted Oct 15, 2018
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| 88% | First Man (2018) |
A historical film in which the historical element is so grossly distorted as to detach the hero from humanity.‐ New Yorker
Read More | Posted Oct 11, 2018
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| 92% | Hotel by the River (2018) |
Hong builds the action into a framework of poetic premonitions that exude anticipatory danger.‐ New Yorker
Read More | Posted Oct 8, 2018
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| 89% | A Star Is Born (2018) |
What Cooper persuasively depicts is the fear factor of stardom-the sense of vulnerability, of a position that's both powerful and fragile.‐ New Yorker
Read More | Posted Oct 8, 2018
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| 94% | Private Life (2018) |
Scenes of painful turmoil play like skillful script readings rather than life events.‐ New Yorker
Read More | Posted Oct 8, 2018
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| 97% | The Hate U Give (2018) |
This impassioned and incisive adaptation of the novel by Angie Thomas keeps a complex story and a wide array of characters in energetic, compassionate balance.‐ New Yorker
Read More | Posted Oct 8, 2018
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| 50% | The Errand Boy (1961) |
Lewis's antics bring out his radically democratic politics: when the yearnings for power, self-expression, and love are thwarted, the ordinary man becomes the great anarch.‐ New Yorker
Read More | Posted Oct 8, 2018
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| 89% | The Old Man & the Gun (2018) |
[Redford] delivers a glorious, sly performance in a gloriously sly movie that masks its idiosyncrasy in brisk and breezy storytelling.‐ New Yorker
Read More | Posted Oct 4, 2018
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| 58% | American Dharma (2018) |
"American Dharma" succeeds neither as journalism nor as portraiture, neither as political critique nor as cultural survey nor as psychological study.‐ New Yorker
Read More | Posted Oct 4, 2018
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| 23% | At Long Last Love (1975) |
"At Long Last Love" is a lavish feast of performance; for that matter, like many great movies, it defines a mode of performance.‐ New Yorker
Read More | Posted Oct 4, 2018
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| 79% | Her Smell (2018) |
Over and above the furious-and ultimately painfully tender-drama, Perry achieves something of a new, grand version of his own cinematic music.‐ New Yorker
Read More | Posted Sep 26, 2018
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| 100% | A Family Tour (2018) |
Unflinching, probingly analytical, and fiercely angry.‐ New Yorker
Read More | Posted Sep 26, 2018
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| 11% | Life Itself (2018) |
Excruciatingly contrived and ill-conceived...‐ New Yorker
Read More | Posted Sep 24, 2018
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| 95% | Hale County This Morning, This Evening (2018) |
Though made modestly and intimately, the film embodies a vast conceptual and aesthetic ambition.‐ New Yorker
Read More | Posted Sep 20, 2018
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| 95% | Garry Winogrand: All Things are Photographable (2018) |
The film puts his work convincingly and revealingly into the context of his turbulent life and the passionate politics of the times.‐ New Yorker
Read More | Posted Sep 17, 2018
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| 85% | A Simple Favor (2018) |
The performances by Anna Kendrick and Blake Lively are so invigorating, so generous with pointed inflections and snappy gestures, that they fill the movie's good-humored, amply plotted emptiness.‐ New Yorker
Read More | Posted Sep 14, 2018
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| No Score Yet | Chaos (2018) |
It's a conversational film about silence, a visually complex film about invisibility, a film about the possibility of making a film about the war and what's been lost in it.‐ New Yorker
Read More | Posted Sep 13, 2018
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| No Score Yet | Dieu seul me voit (Only God Sees Me) (2008) |
It's a masterwork of subtle absurdities, local peculiarities, and outrageous incongruities-it's one of the most physically inventive comedies since the heyday of Jacques Tati.‐ New Yorker
Read More | Posted Sep 13, 2018
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| 93% | Amour (2012) |
If only some of the uninhibitedly energetic thought and insight of these actors had found its way into Haneke's movie.‐ New Yorker
Read More | Posted Sep 12, 2018
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| 10% | Peppermint (2018) |
Leaves a trace of slime that's hard to wipe up-and leaves the feeling that it would be better for the world at large if this movie hadn't been made.‐ New Yorker
Read More | Posted Sep 10, 2018
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| No Score Yet | Sånt händer inte här (High Tension) (This Can't Happen Here) (1950) |
From the start, Bergman achieves an almost unbearable sense of dramatic tension...‐ New Yorker
Read More | Posted Sep 7, 2018
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| 97% | I Am Not a Witch (2018) |
Nyoni's frank, confrontational style is both derisive and empathetic; she extracts powerful symbolic images from the oppressive environment.‐ New Yorker
Read More | Posted Sep 3, 2018
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| 93% | Searching (2018) |
Cho, Messing, and La are excellent actors who are offered almost nothing to work with.‐ New Yorker
Read More | Posted Aug 31, 2018
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| 43% | Destination Wedding (2018) |
The movie is, for the most part, excruciating-a bewildering, deadening experience that, for all its emphasis on its great actors, leaves them to display their talents and exert their craft in a cinematic and psychological void.‐ New Yorker
Read More | Posted Aug 31, 2018
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| 22% | The Happytime Murders (2018) |
"The Happytime Murders" is, basically, disgusting. But even when it's reprehensible, it's not always bad.‐ New Yorker
Read More | Posted Aug 27, 2018
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| 60% | A Paris Education (Mes provinciales) (2018) |
Civeyrac's film students spend most of their time reading and writing; their script-bound academicism is mirrored in his own film.‐ New Yorker
Read More | Posted Aug 27, 2018
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| 100% | The Furies (1950) |
The movie's jarring violence pales beside the clashes of egos and the disputes between new banking interests and age-old claims on the land.‐ New Yorker
Read More | Posted Aug 27, 2018
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| 100% | Behemoth (Bei xi mo shou) (2017) |
The film seems to shudder with the destructive power of invisible, ubiquitous, and cruelly indifferent authority.‐ New Yorker
Read More | Posted Aug 27, 2018
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| 59% | Operation Finale (2018) |
Despite clichéd depictions of Nazi atrocities, the movie persuasively evokes, with its wealth of details, the slender threads on which historical events-and historical truth-depend.‐ New Yorker
Read More | Posted Aug 24, 2018
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| No Score Yet | The Rest I Make Up (2018) |
Fornés exerts a hypnotic force of stardom, while her offhanded yet urgent remarks resound with life-tested literary authority.‐ New Yorker
Read More | Posted Aug 20, 2018
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| 89% | Notes on an Appearance (2018) |
D'Ambrose conjures a vast imaginary world of intellectual intrigue in tiny, antic touches, which provide the context for a febrile drama of youthful ambition and frustration.‐ New Yorker
Read More | Posted Aug 20, 2018
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| 59% | Memoir of War (La douleur) (2018) |
"Memoir of War" is a movie that dreadfully empties a vast experience, that reduces colossal events to dramatic simplicities and trivializing shortcuts.‐ New Yorker
Read More | Posted Aug 17, 2018
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| 100% | Minding the Gap (2018) |
"Minding the Gap" is a personal documentary of the highest sort, in which the film's necessity to the filmmaker-and its obstacles, its resistances, its emotional and moral demands on him-are part of its very existence.‐ New Yorker
Read More | Posted Aug 17, 2018
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| 95% | BlacKkKlansman (2018) |
For all its revelations of racist rot at the core of American society, Lee also offers a clear, specific, and wondrous, if wary, view of change that's possible because, at one time and to some extent, it actually happened.‐ New Yorker
Read More | Posted Aug 13, 2018
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| 89% | Skate Kitchen (2018) |
The depiction of Camille's quest for freedom and identity feels narrow and constrained.‐ New Yorker
Read More | Posted Aug 13, 2018
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| 72% | Christopher Robin (2018) |
This takeoff on the children's-book series refreshingly balances sweet and bitter tones; Pooh's innocence irritates Christopher before it redeems him, and Madeline undertakes a bold adventure to gain her father's attention.‐ New Yorker
Read More | Posted Aug 13, 2018
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| 92% | Crazy Rich Asians (2018) |
The vigorous cast enlivens the conventional action, and brilliant comedic sallies by Awkwafina, as Rachel's college friend, and Nico Santos, as Nick's cousin, knock it for a loop.‐ New Yorker
Read More | Posted Aug 13, 2018
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| 97% | Mission: Impossible - Fallout (2018) |
The problem with constructing a movie as one long making-of sequence is that, if it's a movie as inert as this one, it doesn't so much answer the question "How was it made?" as pose another one altogether: Why?‐ New Yorker
Read More | Posted Jul 30, 2018
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| 86% | The Miseducation of Cameron Post (2018) |
The action is schematic and the characters are thinly sketched.‐ New Yorker
Read More | Posted Jul 30, 2018
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| 83% | Rendezvous in July (1949) |
Becker turns his attention to a new generation of postwar youths whose freethinking creativity embraces jazz, theatre, and, above all, the cinema itself.‐ New Yorker
Read More | Posted Jul 30, 2018
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| 49% | The Spy Who Dumped Me (2018) |
Mila Kunis and Kate McKinnon riff gleefully in the ample and precise framework of Susanna Fogel's effervescent action comedy.‐ New Yorker
Read More | Posted Jul 30, 2018
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| 57% | Unfriended: Dark Web (2018) |
It adds up to little, despite a fine Hitchcockian twist of a single transgression leading inevitably to doom.‐ New Yorker
Read More | Posted Jul 30, 2018
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| 63% | Uncle Drew (2018) |
The story-which is based on a Pepsi commercial-hits facile beats of reconciliation, redemption, and romance, but the men's hearty jibes and the glimpses of their latter-day lives evoke depths of emotion and experience that remain untapped.‐ New Yorker
Read More | Posted Jul 30, 2018
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| 84% | The Captain (Der Hauptmann) (2018) |
From the start, he marks the film with the two polar extremes on which the film is organized: fabricated authenticity and simplistic irony.‐ New Yorker
Read More | Posted Jul 25, 2018
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| 83% | The Third Murder (Sandome no satsujin) (2018) |
Despite some tense dramatic moments and some revealing views of Japan's legal system, the movie feels plotted rather than experienced.‐ New Yorker
Read More | Posted Jul 23, 2018
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| 90% | 24 City (Er shi si cheng ji) (2008) |
Through interviews with retired workers and faux interviews with scripted characters, Jia brings long-repressed history to life on an intimate scale.‐ New Yorker
Read More | Posted Jul 23, 2018
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| 82% | Milford Graves Full Mantis (2018) |
A fragmentary portrait of Graves that embraces his holistic philosophy but gives his music short shrift.‐ New Yorker
Read More | Posted Jul 16, 2018
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| 93% | Blindspotting (2018) |
The conflicts are schematic, the characters are thinly sketched, and Diggs displays his hip-hop artistry as if stepping upstage.‐ New Yorker
Read More | Posted Jul 16, 2018
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| No Score Yet | Such Good Friends (1971) |
Effervescent-yet nonetheless scathing...‐ New Yorker
Read More | Posted Jul 2, 2018
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| 94% | Sorry to Bother You (2018) |
Riley dramatizes outrageously complex machinations of predatory greed and depraved misrule-and offers a passionate, joyous vision of resistance.‐ New Yorker
Read More | Posted Jul 2, 2018
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