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
12% Life Itself (2018) Excruciatingly contrived and ill-conceived...‐ New Yorker
Read More | Posted Sep 24, 2018
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
92% 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
84% 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
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
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
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
11% 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
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
96% 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
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
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
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
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
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
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
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
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
88% 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
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
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
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
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
71% 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
93% 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
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
87% The Miseducation of Cameron Post (2018) The action is schematic and the characters are thinly sketched.‐ New Yorker
Read More | Posted Jul 30, 2018
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
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
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
62% 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
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
85% 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
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
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
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
No Score Yet Such Good Friends (1971) Effervescent-yet nonetheless scathing...‐ New Yorker
Read More | Posted Jul 2, 2018
93% 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
97% Pickpocket (1959) The movie, above all, affirms the miracle of redemptive love and its price in humility and unconditional surrender.‐ New Yorker
Read More | Posted Jul 2, 2018
98% Eighth Grade (2018) [Burnham] smothers the story in sentiment, stereotypes, and good intentions.‐ New Yorker
Read More | Posted Jul 2, 2018
94% Araby (Arábia) (2018) The filmmakers dramatize, thinly but ardently, the rise of self-consciousness, of a revolution in the soul that hints at political action.‐ New Yorker
Read More | Posted Jul 2, 2018
88% Ant-Man and the Wasp (2018) The earlier film's freewheeling, low-key loopiness is replaced by a dull and dutiful plot that, with its forced references to other Marvel installments, squeezes the action to fit the franchise.‐ New Yorker
Read More | Posted Jul 2, 2018
76% The King (2018) ...the movie does so in painfully simplistic terms, with encyclopedia-style snippets of history, authentically pained but insubstantial musings on "how we got here," and an odd reliance on the comments of celebrities who lack any Presley connection...‐ New Yorker
Read More | Posted Jun 26, 2018
No Score Yet Two Plains & a Fancy (2018) The movie is a comedy of sorts; its faithfulness to the tropes of the Western is realized, at first, in winks-but it soon turns breathtakingly serious without sacrificing its wit.‐ New Yorker
Read More | Posted Jun 21, 2018
100% Chained for Life (2018) Schimberg creates a melodrama that reflects on the terms of melodrama while also pointing toward a grass-roots cinematic revolution-movies made by people about their own experiences.‐ New Yorker
Read More | Posted Jun 21, 2018
91% Support the Girls (2018) The sharp-elbowed humor is laced with aching tenderness, tightrope-tense frustrations over money and love, and an underlying mix of social pathologies that bubbles through the show-biz surfaces...‐ New Yorker
Read More | Posted Jun 21, 2018
94% Incredibles 2 (2018) It's a nostalgic vision of total power of a local minimum that echoes sickeningly with the nostalgic pathologies of the current day, nowhere more than in Win's enthusiastic declaration of his plan to "make superheroes legal again."‐ New Yorker
Read More | Posted Jun 21, 2018
49% Superfly (2018) For all its tossed-off flash, "Superfly" goes beyond the mere intricacy of its audacious plotting to suggest the cruelty, the horror, and the deceit at the heart of the American body politic.‐ New Yorker
Read More | Posted Jun 21, 2018
71% Damsel (2018) Though methodically conceived and occasionally tense, it's slight and sluggish.‐ New Yorker
Read More | Posted Jun 18, 2018
34% The Catcher Was A Spy (2018) The script, by Robert Rodat, skips around in time to elucidate the amped-up drama, but it never gets close to Berg's own character.‐ New Yorker
Read More | Posted Jun 18, 2018