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 Review
59% Alita: Battle Angel (2019) Rather than explore complex issues and troubling experiences by way of sci-fi future-historical fantasy, Battle Angel debases them-and its exemplary character-under the force of a blinkered and reactionary model. - New Yorker EDIT
Read More | Posted Feb 13, 2019
75% The Graduation (Le concours) (2016) The system that Simon analytically probes appears mainly to perpetuate itself. - New Yorker EDIT
Read More | Posted Feb 11, 2019
92% Birds of Passage (Pájaros de verano) (2019) Richly textured images both unfold the action in tense detail and enmesh it in its social context, rescuing cultural memory from tragic devastation. - New Yorker EDIT
Read More | Posted Feb 11, 2019
45% What Men Want (2019) Henson brings strength, radiance, precision, and presence to the gags and playful situations and to the drama, however mild it is; she lends the movie's artifices a surprising illusion of substance. - New Yorker EDIT
Read More | Posted Feb 9, 2019
64% Querelle (1982) A work of bold artistic self-renewal. - New Yorker EDIT
Read More | Posted Feb 4, 2019
71% Piercing (2019) For every clever twist, there's a dead giveaway; the movie's high-style décor is more alluring than the drama. - New Yorker EDIT
Read More | Posted Feb 4, 2019
92% High Flying Bird (2019) Using his iPhone to create urgent, luminous images of power-brokering amid gleaming glass-and-steel buildings, Soderbergh gives the intricate, pugnacious drama a mighty sense of swing. - New Yorker EDIT
Read More | Posted Feb 4, 2019
83% The Gospel of Eureka (2019) The movie's vision of varieties of religious experience and celebrations of identity is matched by its fervent embrace of community in the shift from hatred to acceptance. - New Yorker EDIT
Read More | Posted Feb 4, 2019
21% Serenity (2019) "Serenity" is, instead, full of ludicrous trivializations that bypass the story's troubling implications. - New Yorker EDIT
Read More | Posted Jan 31, 2019
88% Arctic (2019) The latest entry in the hackneyed lone-survivor genre offers little to revitalize it. - New Yorker EDIT
Read More | Posted Jan 28, 2019
37% Glass (2019) Hollywood and its superhero franchises are all but coextensive, and Shyamalan's confrontation with the ubiquity, popularity, and dominance of superheroes gives "Glass" a second-level urgency. - New Yorker EDIT
Read More | Posted Jan 21, 2019
88% The Image Book (Le livre d'image) (2019) Centering film history on the Second World War, the Holocaust, the atomic bomb, and the Cold War, Godard pursues an alternative history that relates cinematic failings to political ones. - New Yorker EDIT
Read More | Posted Jan 21, 2019
No Score Yet Histoires D'amerique (1989) Akerman highlights the forthright display of a distinctive Jewish-American diaspora culture, which she contrasts with the private and wary sense of Jewish identity on view in her European work. - New Yorker EDIT
Read More | Posted Jan 21, 2019
No Score Yet Jobe'z World (2019) Its inspirations, almost all of which are centered on Bouloukos's performance, redeem its longueurs and virtually blast them off the screen and out of memory. - New Yorker EDIT
Read More | Posted Jan 14, 2019
33% Rockaway (2017) Rockaway is a survivor's film, and it's seemingly warped by the agony of the experiences that Budion is trying to relate. - New Yorker EDIT
Read More | Posted Jan 11, 2019
80% Pig (2018) It is rare for a film to put forth so boldly precise a vision of society; it's also rare to find a satire that hardly ever falls into mere ridicule or pathos. - New Yorker EDIT
Read More | Posted Jan 10, 2019
No Score Yet Young Solitude (Premières solitudes) (2018) Simon elicits discussions of a novelistic depth; her assertive images give the students' words physical impact. - New Yorker EDIT
Read More | Posted Jan 7, 2019
62% Bird Box (2018) Unfortunately, Bird Box puts these performers through familiar paces, in roles of such tight typecasting that they seem like recurring characters in an extended TV series... - New Yorker EDIT
Read More | Posted Jan 2, 2019
87% L' Avocat de la Terreur (Terror's Advocate) (2007) The story Schroeder unfolds is also his own-that of a generation that had its humanistic sympathies manipulated by unscrupulous people with agendas of horror. - New Yorker EDIT
Read More | Posted Jan 2, 2019
No Score Yet Cane River (1982) Jenkins's spare, frank lyricism foregrounds the couple's tense discussions about the traumas of history, the weight of cultural memory, and the pressure of racial injustice; he lends the intimate tale a vast and vital resonance. - New Yorker EDIT
Read More | Posted Dec 31, 2018
93% Bumblebee (2018) Where the Bay "Transformers" movies alternated between ecstasy and dullness, "Bumblebee" is consistently middling. - New Yorker EDIT
Read More | Posted Dec 31, 2018
65% Aquaman (2018) Through it all, Jason Momoa... tosses off coyly bluff one-liners with understated humor that goes to waste in this bloated and sludgy movie. - New Yorker EDIT
Read More | Posted Dec 31, 2018
32% Welcome to Marwen (2018) A well-meaning, heartfelt, and vigorously engaged tribute to a remarkable person... - New Yorker EDIT
Read More | Posted Dec 24, 2018
100% Dead Souls (2018) In addition to being a work of memory that brings the past imaginatively to light, "Dead Souls" is a film of resistance that, in discussing the past, also confronts the present-day activities of the Chinese government. - New Yorker EDIT
Read More | Posted Dec 20, 2018
96% Roma (2018) For all its worthy intentions, "Roma" is little more than the righteous affirmation of good intentions. - New Yorker EDIT
Read More | Posted Dec 19, 2018
97% Spider-Man: Into the Spider-Verse (2018) The spectacularly colorful, varied, and busy animation is impressive but bombastic, leaving little room for wonder and suggesting exertion rather than inspiration. - New Yorker EDIT
Read More | Posted Dec 17, 2018
72% On the Basis of Sex (2019) Sacrifices character for intricate, and often fascinating, behind-the-scenes legal maneuvers... - New Yorker EDIT
Read More | Posted Dec 17, 2018
88% Female Trouble (1974) The resulting feast of sex, violence, cruelty, and frivolity mocks sentimental notions of family, work, and love, and turns the egomaniacal furies of pop culture inside out. - New Yorker EDIT
Read More | Posted Dec 17, 2018
59% The House That Jack Built (2018) Von Trier... simply dallies with disgusting images and ideas in a carefully calibrated, ante-upping ploy to attract attention... - New Yorker EDIT
Read More | Posted Dec 14, 2018
70% The Mule (2018) Plays less like the clever action film it is than like a personal work-a movie of self-retrospection with a resonant, romantic air of regret. - New Yorker EDIT
Read More | Posted Dec 13, 2018
67% The Great Pretender (2018) Flashbacks and fantasies, plus wry inserts of film clips and complex overlaps of art and life, adorn-for that matter, overwhelm-the story, which is built on flimsy psychological clichés amid the implacable imperatives of desire and disease. - New Yorker EDIT
Read More | Posted Dec 10, 2018
88% Capernaum (Capharnaüm) (2018) Labaki depicts underworld barbarity, official indifference, and the crushing weight of traditional misogyny through Zain's ferociously intelligent, deeply principled perspective. - New Yorker EDIT
Read More | Posted Dec 10, 2018
59% Vox Lux (2018) "Vox Lux" sinks under the weight of its own bombastic earnestness. Unfortunately, it pulls one of the best modern actresses, Portman, down along with it. - New Yorker EDIT
Read More | Posted Dec 7, 2018
No Score Yet Ten Days' Wonder (1972) It's a minor masterwork of freakazoidal cinema. - New Yorker EDIT
Read More | Posted Dec 3, 2018
62% Mary Queen of Scots (2018) The tamped-down and smoothed-out movie lacks the psychological acuity and the political reflection to develop its ideas. - New Yorker EDIT
Read More | Posted Dec 3, 2018
95% Amazing Grace (2018) A triumph of timeless artistry over transitory obstacles; its very existence is a secular miracle. - New Yorker EDIT
Read More | Posted Dec 3, 2018
100% Bathtubs Over Broadway (2018) By presenting the gleeful idiosyncrasy of these artists' flamboyantly poetic renderings of arch-prosaic subjects, Young and Whisenant confront colossal matters of aesthetic theory with a sly wink. - New Yorker EDIT
Read More | Posted Nov 28, 2018
90% Happy as Lazzaro (Lazzaro felice) (2018) Borrowing themes and tropes from such grand directorial forerunners as Visconti and Pasolini, Rohrwacher imaginatively maps the ills of modernity onto long-standing injustices. - New Yorker EDIT
Read More | Posted Nov 26, 2018
100% Detour (1945) The film, told in flashbacks, is held together by a poetically lurid interior monologue and directed, by Edgar G. Ulmer, with harrowingly expressive effects of light and shadow. - New Yorker EDIT
Read More | Posted Nov 26, 2018
91% Widows (2018) The movie tosses back at viewers a variety of casual exasperations-inchoate, flip, and manipulable-that flatten and simplify the very ills and grievances that it dramatizes. - New Yorker EDIT
Read More | Posted Nov 19, 2018
80% Green Book (2018) Humor... keeps the movie floating, weightlessly, above the appalling bedrock of its ponderous assumptions. - New Yorker EDIT
Read More | Posted Nov 19, 2018
44% Write When You Get Work (2018) The core of the film is Ruth and Jonny's backstory, which is dosed out in frustrating droplets but is nonetheless affecting. - New Yorker EDIT
Read More | Posted Nov 19, 2018
No Score Yet Spring Night, Summer Night (1970) Blending fervent quasi-documentary curiosity with expressive fury, Anderson-working with nonprofessional actors-embeds practical details of the town's history and struggles in the tense, myth-drenched drama of liberation and retribution. - New Yorker EDIT
Read More | Posted Nov 19, 2018
71% Napalm (2017) "Napalm" is first-person filmmaking on a global scale. - New Yorker EDIT
Read More | Posted Nov 15, 2018
91% The Ballad of Buster Scruggs (2018) The short films in "Buster Scruggs" are playthings, but the Coens are playing with no mere frivolity. - New Yorker EDIT
Read More | Posted Nov 15, 2018
94% CAM (2018) [A] remarkably accomplished thriller... - New Yorker EDIT
Read More | Posted Nov 12, 2018
81% At Eternity's Gate (2018) Vulgar defacements of the art work match the eye-rollingly portentous melodrama with which van Gogh's torments are depicted. - New Yorker EDIT
Read More | Posted Nov 12, 2018
89% Bodied (2018) It's neither a rewarding drama nor a substantial set of ideas, but its implications and by-products, suggestions and overtones are far more enjoyable to contemplate than the movie is to experience. - New Yorker EDIT
Read More | Posted Nov 9, 2018
61% Bohemian Rhapsody (2018) Malek does an impressive job of re-creating Mercury's moves onstage, but the core of the performance is Malek's intensely thoughtful, insight-rich channelling of Mercury's hurt, his alienation and isolation even at the height of his fame. - New Yorker EDIT
Read More | Posted Nov 6, 2018
No Score Yet Un vivant qui passe (A Visitor from the Living) (1997) Rossel is easy to despise and easier to mock, but the cold light of his detachment serves as a reminder of the tyrannical deceits that, even now, conceal atrocities. - New Yorker EDIT
Read More | Posted Nov 5, 2018