Richard Brody

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

T-Meter Title | Year
88% Waves (2019) The gyrating and glowing images in this melodrama, written and directed by Trey Edward Shults, can't mask its flimsy storytelling or facile manipulations. - New Yorker EDIT
Read More | Posted Nov 18, 2019
98% Varda by Agnès (2019) The result is a grand, warmhearted testament to her lifetime of creative connections, her art of self-transformation, and her relentless transformation of the art of cinema itself. - New Yorker EDIT
Read More | Posted Nov 18, 2019
95% Recorder: The Marion Stokes Project (2019) Matt Wolf's documentary reveals the secret greatness of a reclusive activist. - New Yorker EDIT
Read More | Posted Nov 15, 2019
94% Honey Boy (2019) LaBeouf plays James with a psychodramatic intensity that's nonetheless methodical. - New Yorker EDIT
Read More | Posted Nov 15, 2019
93% Dark Waters (2019) Todd Haynes's artistry is hardly detectable in this environmental thriller, yet the film, based on a true story, nonetheless offers a stirring and infuriating story of brazen corporate indifference to employees, neighbors, and the world at large. - New Yorker EDIT
Read More | Posted Nov 15, 2019
89% Burning Cane (2019) Youmans... depicts these harrowing emotional crises in dramatic fragments and shadow-drenched, often oblique images; they suggest his anguish at a legacy of male frustration, violence, rage, and self-destruction... - New Yorker EDIT
Read More | Posted Nov 4, 2019
88% Araya (1959) Benacerraf's grand style captures the drama of subsistence in the face of nature; the overwhelming beauty of the wide-open spaces contrasts with the workers' burdened trudges through them. - New Yorker EDIT
Read More | Posted Nov 4, 2019
100% The Last Command (1928) Sternberg examines each agonized detail of the onetime commander's humiliation in Hollywood with piercing discernment. - New Yorker EDIT
Read More | Posted Oct 28, 2019
73% Harriet (2019) The intensity and the lyrical fervor of Kasi Lemmons's direction lend this historical drama, about Harriet Tubman's escape from slavery and her work with the Underground Railroad, the exalted energy of secular scripture. - New Yorker EDIT
Read More | Posted Oct 28, 2019
60% Frankie (2019) [Sachs's] insistent pictorial sensibility reveals its purpose and its power in a crescendo of visionary wonder, in a matched pair of concluding sequences. - New Yorker EDIT
Read More | Posted Oct 25, 2019
79% Jojo Rabbit (2019) Today, making fun of Hitler and his minions is both easy and pointless, because he poses no threat; Waititi is kicking a dead bull. - New Yorker EDIT
Read More | Posted Oct 22, 2019
86% Synonyms (Synonymes) (2019) Lapid delivers a deeply personal rant in the form of a wild and reckless drama... - New Yorker EDIT
Read More | Posted Oct 21, 2019
No Score Yet Xiao Wu (The Pickpocket) (2000) Jia's restrained yet fierce X-ray of the ills of modern China also evokes a calm, intimate tenderness for its struggling survivors. - New Yorker EDIT
Read More | Posted Oct 21, 2019
100% Ghosts of Sugar Land (2019) Unfolds a personal drama with a geopolitical scope. - New Yorker EDIT
Read More | Posted Oct 21, 2019
82% Shadow of the Vampire (2000) "Shadow of the Vampire" is a gory and grandiose metaphor for the torments and sacrifices made, extracted, and endured in the name of art. - New Yorker EDIT
Read More | Posted Oct 19, 2019
No Score Yet Chez Jolie Coiffure (2018) Within a single salon, and amid its handful of workers and customers, Mbakam discerns the fault lines of modern life, analyzes them in terms of personal experience, and displays them with an enduring and exemplary iconographic power. - New Yorker EDIT
Read More | Posted Oct 18, 2019
No Score Yet The Two Faces of a Bamiléké Woman (Les deux visages d'une femme bamiléké) (2018) From the first shot of Rosine Mbakam's first feature... it's apparent that she's an original filmmaker of exquisite sensibility. - New Yorker EDIT
Read More | Posted Oct 18, 2019
100% Lime Kiln Club Field Day (1913) The movie, filmed on location in New York and New Jersey, brings to the fore Williams's mighty energy, tender heart, and thwarted dreams. - New Yorker EDIT
Read More | Posted Oct 17, 2019
No Score Yet Will (2015) Will's crisis has a spiritual dimension, and Maple evokes it, dramatically and symbolically, in a wide-ranging and documentary-based view of Harlem. - New Yorker EDIT
Read More | Posted Oct 14, 2019
54% Wild Rovers (1971) Bodine and Post exult in the transcendent wonder of the vast landscape and revel in the illusory joys of their outlaw freedom; their solitude and boredom on long rides through uninhabited country drive them to delusion and destruction. - New Yorker EDIT
Read More | Posted Oct 14, 2019
No Score Yet Die linkshändige Frau (The Left-Handed Woman) (1980) A hidden masterpiece. - New Yorker EDIT
Read More | Posted Oct 14, 2019
67% The Cotton Club Encore (2019) Coppola can't avoid a dash of mythology when filming brutal killings, but he also looks grimly at the Mob's role in popular artistry-and in enforcing racial barriers. - New Yorker EDIT
Read More | Posted Oct 14, 2019
97% Pain and Glory (Dolor y gloria) (2019) The movie's expressive moments-and there are many-are largely uprooted, decontextualized, and dematerialized, planted like index cards rather than allowed to unfold and to develop. - New Yorker EDIT
Read More | Posted Oct 11, 2019
85% The Whistlers (2019) The dirty-cop trope gets an imaginative new workout in this sly and intricate crime drama by the director Corneliu Porumboiu. - New Yorker EDIT
Read More | Posted Oct 7, 2019
97% Dolemite Is My Name (2019) Murphy's scintillating virtuosity is displayed at the expense of depth. - New Yorker EDIT
Read More | Posted Oct 7, 2019
96% Atlantics (2019) Diop's first feature-set in her father's home town of Dakar, Senegal-unites a wide array of ideas and genres with her intensely sensory artistry. - New Yorker EDIT
Read More | Posted Oct 7, 2019
69% Joker (2019) A movie of a cynicism so vast and pervasive as to render the viewing experience even emptier than its slapdash aesthetic does. - New Yorker EDIT
Read More | Posted Oct 4, 2019
96% The Irishman (2019) It runs a minute shy of three and a half hours, and I wouldn't wish it any shorter. - New Yorker EDIT
Read More | Posted Sep 30, 2019
54% Saturday Fiction (Lan xin da ju yuan) (2019) With bitter irony seething in his blend of kinetic camerawork and silky black-and-white tones, Lou borrows the form of historical drama to expose the corruption and the terror of a modern surveillance state. - New Yorker EDIT
Read More | Posted Sep 30, 2019
No Score Yet Blood of the Beasts (Le Sang des bêtes) (2005) Franju evokes the collective brutality from which the refinements of culture are made. - New Yorker EDIT
Read More | Posted Sep 30, 2019
100% Santiago, Italia (2018) The Italian director Nanni Moretti crafts this fiercely earnest documentary with a frank simplicity that feels remarkably original. - New Yorker EDIT
Read More | Posted Sep 23, 2019
100% Midnight Traveler (2019) Discussing their circumstances incisively, they offer trenchant views of religious and popular culture-and the role and the power of the cinema itself. - New Yorker EDIT
Read More | Posted Sep 23, 2019
83% Judy (2019) Tom Edge's script, based on a play by Peter Quilter, lapses into clichés, but the dialogue is often sharp, and Zellweger offers it up with flair and fury. - New Yorker EDIT
Read More | Posted Sep 23, 2019
91% Bacurau (Nighthawk) (2019) The light touches of science fiction evoke present-day depravities, and the vision of local unity offers a thrillingly imaginative playbook for resistance. - New Yorker EDIT
Read More | Posted Sep 23, 2019
84% Ad Astra (2019) The canniness of Gray's procedure is matched by the boldness, even the recklessness, of the extremes to which he pushes it-along with his characters, his story, his emotions, and his techniques. - New Yorker EDIT
Read More | Posted Sep 20, 2019
24% The Goldfinch (2019) This sprawling yet rushed adaptation of Donna Tartt's novel is textureless and flavorless. - New Yorker EDIT
Read More | Posted Sep 16, 2019
No Score Yet Moment by Moment (1978) A superb romantic melodrama... - New Yorker EDIT
Read More | Posted Sep 14, 2019
100% América (2018) [T]he movie's fusion of medical, legal, and personal issues echoes far beyond its short span, and it briefly reaches grand philosophical heights in discussions of América's state of mind and emotional life. - New Yorker EDIT
Read More | Posted Sep 13, 2019
88% Hustlers (2019) ...a heartwarming tale of friendship, family, and shopping. Cardi B and Lizzo are brilliant in all too brief dramatic roles. - New Yorker EDIT
Read More | Posted Sep 12, 2019
64% The Sound of Silence (2019) An exciting idea and a cast with the flair to convey it go to waste in this overplotted, underdeveloped science-fiction mood piece. - New Yorker EDIT
Read More | Posted Sep 9, 2019
88% Ready or Not (2019) This horror comedy muffs both the humor and the drama. - New Yorker EDIT
Read More | Posted Sep 9, 2019
100% Mr. Klein (1976) Both a work of history, unstinting in its concrete depiction of political hatred and fear, and a portrait of the metaphysics of tyranny-a classic of doppelgänger paranoia that gathers the theme on a single string and pulls it into modernity. - New Yorker EDIT
Read More | Posted Sep 9, 2019
96% Our Hospitality (1923) Buster Keaton's ingenuity, acrobatics, and romanticism flourish equally in this antic twist on melodrama... - New Yorker EDIT
Read More | Posted Sep 3, 2019
76% Afterglow (1997) The actors deliver their lines with stark and declamatory fervor, and their gestures have a sharp, sculptural stillness that's reminiscent of the grand artifices of classic-Hollywood productions. - New Yorker EDIT
Read More | Posted Sep 2, 2019
48% Where'd You Go, Bernadette (2019) As Bernadette, Cate Blanchett is forced to do the work that Linklater doesn't devote to developing the story or characters. - New Yorker EDIT
Read More | Posted Aug 26, 2019
88% Roozi ke zan shodam (The Day I Became a Woman) (2001) A masterwork of symbolic cinema; it depicts, with vast imagination, the ordeals faced by women in modern Iranian society. - New Yorker EDIT
Read More | Posted Aug 26, 2019
82% This is not Berlin (2019) Family tragedy, legal matters, and the World Cup all zip through the drama, which has a miniseries' worth of incidents that get dispatched in quick, merely informational scenes filmed with little style or imagination. - New Yorker EDIT
Read More | Posted Aug 26, 2019
96% Jawline (2019) [Mandelup] rushes from clip to clip, from sound bite to sound bite; the results are superficial and frustrating. - New Yorker EDIT
Read More | Posted Aug 26, 2019
83% Party Girl (1958) Ray's direction, with its garish, searing streaks of color (red has rarely slashed the screen so violently), sharp diagonals, and quickly lurching wide-screen views, reflects its characters' raging energies and inner conflicts. - New Yorker EDIT
Read More | Posted Aug 19, 2019
94% Miles Davis: Birth of the Cool (2019) The movie's simple arc and conventional contours flatten both the passionate originality of Davis's music and the destructive chaos of his life. - New Yorker EDIT
Read More | Posted Aug 19, 2019