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

Rating T-Meter Title | Year Review
49% Song to Song (2017) Malick ... displays a conspicuously painterly boldness, a sort of cinematic Impressionism that locates an indelible force of light and detail in the stuff of daily life.‐ New Yorker
Read More | Posted Mar 20, 2017
79% Personal Shopper (2017) The problem of Stewart's performance is indicative of Assayas's broader weaknesses as a director. In "Personal Shopper," his subject is intimacy and sensuality, but the film offers neither.‐ New Yorker
Read More | Posted Mar 20, 2017
No Score Yet Rat Film (2016) Anthony discovers a close correlation between the prevalence of a wide range of present-day afflictions and the predominantly black neighborhoods established a century ago-including, of course, the unrelieved prevalence of rats.‐ New Yorker
Read More | Posted Mar 13, 2017
No Score Yet Slack Bay (2017) "Slack Bay" teems with the eventfulness of a serial compressed into a two-hour movie, and its sense of distillation emerges in the wide range of performance styles that Dumont elicits-and the physical precision that marks each of them.‐ New Yorker
Read More | Posted Mar 13, 2017
100% Strong Island (2017) Ford is more than a witness-he is a crucial participant in the events of the film, and its elements of pain and guilt are reflected in his grief-stricken, self-interrogating aesthetic.‐ New Yorker
Read More | Posted Mar 13, 2017
No Score Yet Did You Wonder Who Fired the Gun? (2017) It's an essentially cinematic experience.‐ New Yorker
Read More | Posted Mar 13, 2017
90% Symbiopsychotaxiplasm: Take One (1968) One of the greatest movies about moviemaking.‐ New Yorker
Read More | Posted Mar 6, 2017
74% Catfight (2017) The film's observations don't offer much depth or substance; the contemplation of destructive behavior in private mirroring destruction at an international level is sharp but hollow.‐ New Yorker
Read More | Posted Mar 6, 2017
67% Before I Fall (2017) There's little that the director, Ry Russo-Young, can do with the material's sentimental thinness, but she does something nonetheless ...‐ New Yorker
Read More | Posted Mar 6, 2017
81% Actor Martinez (2017) Nathan Silver and Mike Ott's film is a spinning prism of fiction and nonfiction that tosses off iridescent glints of melancholy whimsy.‐ New Yorker
Read More | Posted Mar 6, 2017
83% Frownland (2007) This amazingly accomplished first feature by Ronald Bronstein, made with a crew of four for seemingly little more than the cost of film stock, throbs with energy and vision.‐ New Yorker
Read More | Posted Feb 27, 2017
99% Get Out (2017) Peele's perfectly tuned cast and deft camera work unleash his uproarious humor along with his political fury; with his first film, he's already an American Buñuel.‐ New Yorker
Read More | Posted Feb 20, 2017
100% Daguerréotypes (1976) Observing traditional crafts and trades with loving fascination, Varda empathetically evokes their paradoxes-the depth of practical knowledge, the lack of variety in experience.‐ New Yorker
Read More | Posted Feb 20, 2017
40% A Cure For Wellness (2017) Verbinski inflates a story ready-made for a brisk Gothic shocker into a bloated, self-important mess.‐ New Yorker
Read More | Posted Feb 20, 2017
79% CSA: The Confederate States of America (2005) "C.S.A." tells a counter-story of how slavery survives to the present day-and it uses traces of contemporary pop culture to show that the notion isn't really even such a stretch.‐ New Yorker
Read More | Posted Feb 16, 2017
90% John Wick: Chapter 2 (2017) Despite the long takes and the wide angles, the traumatic violence looks like expertly realized C.G.I., combined with elaborately sampled stunt work.‐ New Yorker
Read More | Posted Feb 13, 2017
9% Fifty Shades Darker (2017) Foley's direction could serve as Exhibit A in the story of the demise of the mid-range drama: it didn't die a natural death but was killed off by the sort of reductive realism that's on display in "Fifty Shades Darker."‐ New Yorker
Read More | Posted Feb 9, 2017
60% Paraguayan Hammock (2006) Encina's film, balanced exquisitely between the concrete and the abstract, between the specific and the absolute, is a quietly devastating indictment of the eternal waste of youth as cannon fodder in this and all wars.‐ New Yorker
Read More | Posted Feb 6, 2017
100% A New Leaf (1971) Reveals the essence of marital love more brutally than many confrontational melodramas.‐ New Yorker
Read More | Posted Feb 6, 2017
No Score Yet Man's Castle (1933) Filming the streetwise action and the colorful, caustic language from Jo Swerling's script, the director, Frank Borzage, finds sanctified tenderness in the poignant absurdities and grubby brutalities of gutter-level striving.‐ New Yorker
Read More | Posted Feb 6, 2017
100% Kanal (Canal) (They Loved Life) (1961) The film turns combat-film clichés upside down.‐ New Yorker
Read More | Posted Feb 6, 2017
25% The Comedian (2017) The plot is forced and flimsy, the characters are thinly conceived, and the comic writing is often cringeworthy.‐ New Yorker
Read More | Posted Feb 6, 2017
No Score Yet The Bowery (1933) The casual and constant violence, the drunkenness and gambling, the punished, unkempt bodies, and the mercurial swings between gutter and glory make Walsh's raw, raunchy film the authentic "Gangs of New York."‐ New Yorker
Read More | Posted Feb 6, 2017
87% Warnung vor einer Heiligen Nutte (Beware of a Holy Whore) (1971) This is how the cinema looked, in 1971, to the twenty-six-year-old director Rainer Werner Fassbinder, who already had ten feature films under his belt.‐ New Yorker
Read More | Posted Feb 6, 2017
100% Columbus (2017) "Columbus" is one of the rare films in which nerdy intelligence-knowledge without experience-comes off without neurosis, comedic awkwardness, or vengeance.‐ New Yorker
Read More | Posted Jan 30, 2017
77% Beach Rats (2017) "Beach Rats," a boldly irreconcilable drama, shows a character locating ugliness and horror within himself.‐ New Yorker
Read More | Posted Jan 30, 2017
67% Golden Exits (2017) "Golden Exits" is Brooklyn Bergman, a drama of death pushing from behind and despair looming ahead.‐ New Yorker
Read More | Posted Jan 30, 2017
75% Split (2017) The movie's simultaneous evocation of both the depravity at work beneath society's deceptive surfaces and the inadequacy of the liberal technocratic order to defend against that depravity is the secret to its success.‐ New Yorker
Read More | Posted Jan 30, 2017
100% Nous ne vieillirons pas ensemble (We Won't Grow Old Together) (1972) Pialat captures the push-and-pull of their impossible relationship with pugnacious images and abrupt editing.‐ New Yorker
Read More | Posted Jan 30, 2017
100% Ana-ta-han (Anatahan) (1954) Sternberg slashes the screen with Expressionist tangles of foliage and menacing shadows of rough-hewn latticework.‐ New Yorker
Read More | Posted Jan 30, 2017
83% The Founder (2017) Its omissions and elisions are the result not of natural narrative contours but of open choices, gaping holes, psychological wounds that a filmmaker displays all the more via the elaborate efforts at concealment ...‐ New Yorker
Read More | Posted Jan 23, 2017
100% Home from the Hill (1960) Its rhetoric may be laconic and folksy, but its fury and its nobility seem distilled from Shakespeare.‐ New Yorker
Read More | Posted Jan 23, 2017
80% Patriots Day (2017) "Patriots Day" touches on vast phenomena, looking at an event that packs a huge amount of modern mental space in its crisp narrative confines. That's why its blandly reductive simplicity is all the more unfortunate.‐ New Yorker
Read More | Posted Jan 23, 2017
88% 20th Century Women (2017) Mills's world is certainly not devoid of pain, but it's leached of bitterness, leached of conflict, leached of aggression, leached of hostility; the pain and the trauma are leached of consequence.‐ New Yorker
Read More | Posted Jan 23, 2017
87% A Monster Calls (2017) The movie delivers its meaning repeatedly to make sure that no one misses the point; its lessons, rendered even more explicitly than the ones in Conor's classroom, are missing only the chalkboard and pointer.‐ New Yorker
Read More | Posted Jan 23, 2017
No Score Yet Scarred Hearts (2016) The medical regimen provides a background for the slow-motion whirl of young intellectuals, politicians, and socialites who turn the hospital into a microcosm of European diseases of the soul.‐ New Yorker
Read More | Posted Jan 16, 2017
44% Modesty Blaise (1966) Losey captures with comedy the same chill of modernity beneath the Mediterranean sun that Antonioni captures with melodrama.‐ New Yorker
Read More | Posted Jan 16, 2017
92% The Son of Joseph (Le fils de Joseph) (2017) The passionate heart of the action, Vincent's quest for emotional connection, involves his radical rejection of norms and proprieties and sparks the timeless fury of revolt; it's as thrilling as it is ingenious.‐ New Yorker
Read More | Posted Jan 9, 2017
100% Les Nuits de la pleine lune (Full Moon in Paris) (1984) With a graceful round of self-deceptions and mistaken identities, exquisite rationalizations and fortuitous accidents, Rohmer pierces the glossy veneer of the social scene and the dignified realm of art to reveal the sexual fury that they embody.‐ New Yorker
Read More | Posted Jan 9, 2017
96% Paterson (2016) "Paterson" is simultaneously a paean to art and a tribute to working men-long-suffering men who toil in thankless isolation on repetitive jobs, carrying family responsibilities on their shoulders.‐ New Yorker
Read More | Posted Jan 2, 2017
85% Silence (2017) "Silence" is only a near-great film, one in which the very power of its subject-and of Scorsese's devotion to it-appears largely to restrain his distinctive artistry.‐ New Yorker
Read More | Posted Jan 2, 2017
98% I Am Not Your Negro (2017) Peck's references to current events reveal Baldwin's view of history and his prophetic visions to be painfully accurate.‐ New Yorker
Read More | Posted Jan 2, 2017
97% Hunt for the Wilderpeople (2016) Gentle and appealing performances can't rescue this facile and cloying comedy.‐ New Yorker
Read More | Posted Dec 29, 2016
92% Toni Erdmann (2016) There isn't a question in any of the filming; Ade's sense of representation is one of confident approximations. In sticking to a familiarly unquestioned sense of cinematic reality, she empties it of psychological reality; it's a movie with no inner life.‐ New Yorker
Read More | Posted Dec 27, 2016
93% Hidden Figures (2017) A crucial episode of the nineteen-sixties, centered on both the space race and the civil-rights struggle, comes to light in this energetic and impassioned drama.‐ New Yorker
Read More | Posted Dec 19, 2016
12% Collateral Beauty (2016) The failure of "Collateral Beauty" is all the more grievous for the waste of its superb actors.‐ New Yorker
Read More | Posted Dec 18, 2016
No Score Yet The Dumb Girl Of Portici (2012) Weber's bold and imaginative direction has its own independent artistic identity, in which the composition of images for and with Pavlova is only one part.‐ New Yorker
Read More | Posted Dec 18, 2016
85% Rogue One: A Star Wars Story (2016) Rogue One isn't so much a movie as a feature-length promotional film for itself; it's a movie that is still waiting to be made.‐ New Yorker
Read More | Posted Dec 13, 2016
93% La La Land (2016) The one thing that Chazelle seems to have little interest in is life. He turns Mia into an absolute cipher, giving her nothing whatsoever to talk about.‐ New Yorker
Read More | Posted Dec 12, 2016
93% Fences (2016) Under Washington's earnest but plain direction, scenes of loose-limbed riffing ... soar above the drama's conspicuous mechanisms and symbolism.‐ New Yorker
Read More | Posted Dec 12, 2016