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
71% Napalm (2017) "Napalm" is first-person filmmaking on a global scale.‐ New Yorker
Read More | Posted Nov 15, 2018
93% 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
Read More | Posted Nov 15, 2018
95% CAM (2018) [A] remarkably accomplished thriller...‐ New Yorker
Read More | Posted Nov 12, 2018
74% 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
Read More | Posted Nov 12, 2018
88% 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
Read More | Posted Nov 9, 2018
62% 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
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
Read More | Posted Nov 5, 2018
62% Suspiria (2018) Sordid, flimsy Holocaust kitsch, fanatical chic, with all the actual political substance of a designer Che T-shirt.‐ New Yorker
Read More | Posted Oct 31, 2018
100% A Season in France (Une Saison en France) (2017) In Haroun's analytical vision, the simple pleasures of daily French life conceal the virtual violence of its administrative authority.‐ New Yorker
Read More | Posted Oct 29, 2018
80% The Other Side of the Wind (2018) Welles's last dramatic feature, shot between 1970 and 1976 and recently completed by a consortium of experts, is an anarchic-feeling but tautly scripted settling of scores-with Hollywood, history, and, above all, himself.‐ New Yorker
Read More | Posted Oct 29, 2018
76% Mid90s (2018) The drama is heartfelt but thin; despite some sharp and swift dialogue, the characters are bound to a defining trait or two, and there's little sense of style to lift the action past obvious intentions.‐ New Yorker
Read More | Posted Oct 29, 2018
No Score Yet El Sopar (1974) The conversation turns searingly intimate, as the eldest participant affirms that prison "annuls a person's personality."‐ New Yorker
Read More | Posted Oct 29, 2018
93% Monrovia, Indiana (2018) A calmly analytical film in which-as ever in Wiseman's work-extended discussions and public debates are developed with an absorbing dramatic power.‐ New Yorker
Read More | Posted Oct 25, 2018
100% A Bread Factory, Part Two: Walk with Me a While (2018) The distinctive premise of Patrick Wang's new film, "A Bread Factory," is matched by the audacity and the originality with which he realizes it.‐ New Yorker
Read More | Posted Oct 24, 2018
100% A Bread Factory, Part One: For the Sake of Gold (2018) The distinctive premise of Patrick Wang's new film, "A Bread Factory," is matched by the audacity and the originality with which he realizes it.‐ New Yorker
Read More | Posted Oct 24, 2018
98% Can You Ever Forgive Me? (2018) It is a fiercely composed, historically informed, and richly textured film, as insightful regarding the particularities of the protagonist as it is on the artistic life-and on the life of its times.‐ New Yorker
Read More | Posted Oct 18, 2018
100% The Waldheim Waltz (2018) Several journalists perform keen off-the-cuff political analyses; several Austrian politicians bravely defy local orthodoxies; and free, frank hearings in the United States Congress add a painful element of nostalgia.‐ New Yorker
Read More | Posted Oct 17, 2018
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
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
93% 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
90% 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
95% Private Life (2018) Scenes of painful turmoil play like skillful script readings rather than life events.‐ New Yorker
Read More | Posted Oct 8, 2018
96% 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
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
90% 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
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
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
81% 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
100% A Family Tour (2018) Unflinching, probingly analytical, and fiercely angry.‐ New Yorker
Read More | Posted Sep 26, 2018
13% 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
96% 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
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
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
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
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
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
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
46% 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
23% 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
82% 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
57% 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