Movie Reviews by Richard Brody - Page 12 of 44

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Review of Widows (2018)

By Richard Brody (868) for New Yorker (1,403) on 19 Nov 2018

Despite the deftness of the graft (thanks to a script that he co-wrote with Gillian Flynn), it remains, throughout, a graft—a conspicuous…

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Review of Green Book (2018)

By Richard Brody (868) for The New Yorker (1,837) on 19 Nov 2018

It’s a calculatedly heartwarming and good-humored look at atrocious actions, ideas, and attitudes with a pallid glow of halcyon optimism,…

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Review of The Ballad of Buster Scruggs (2018)

By Richard Brody (868) for New Yorker (1,403) on 15 Nov 2018

The short films in Buster Scruggs are playthings, but the Coens are playing with no mere frivolity…

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Review of Napalm (2017)

By Richard Brody (868) for New Yorker (1,403) on 15 Nov 2018

Napalm is first-person filmmaking on a global scale…

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Review of At Eternity's Gate (2018)

By Richard Brody (868) for New Yorker (1,403) on 12 Nov 2018

This dramatization of the last stages of Vincent van Gogh’s life, directed by Julian Schnabel and starring Willem Dafoe as the ill-fated…

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Review of Cam (2018)

By Richard Brody (868) for New Yorker (1,403) on 12 Nov 2018

The realization of her life online, as she interacts with a profusion of screens and windows, is extraordinarily complex and detailed, but…

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Review of Bodied (2018)

By Richard Brody (868) for New Yorker (1,403) on 09 Nov 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…

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Review of Bohemian Rhapsody (2018)

By Richard Brody (868) for New Yorker (1,403) on 06 Nov 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…

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Review of Suspiria (2018)

By Richard Brody (868) for New Yorker (1,403) on 31 Oct 2018

Sordid, flimsy Holocaust kitsch, fanatical chic, with all the actual political substance of a designer Che T-shirt…

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Review of The Other Side of the Wind (2018)

By Richard Brody (868) for New Yorker (1,403) on 29 Oct 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…

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Review of mid90s (2018)

By Richard Brody (868) for New Yorker (1,403) on 29 Oct 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…

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Review of Can You Ever Forgive Me? (2018)

By Richard Brody (868) for New Yorker (1,403) on 17 Oct 2018

It is a fiercely composed, historically informed, and richly textured film, as insightful regarding the particularities of the protagonist…

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Review of The Waldheim Waltz (2018)

By Richard Brody (868) for New Yorker (1,403) on 16 Oct 2018

The movie is constructed entirely of a remarkable array of archival footage, including Beckermann’s recordings, that spotlights unresolved…

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Review of Wobble Palace (2018)

By Richard Brody (868) for New Yorker (1,403) on 14 Oct 2018

Neither character offers much more than a handful of idiosyncrasies, which, nonetheless, are often funny, poignant, and clever…

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Review of First Man (2018)

By Richard Brody (868) for New Yorker (1,403) on 10 Oct 2018

A historical film in which the historical element is so grossly distorted as to detach the hero from humanity…

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Review of The Errand Boy (1961)

By Richard Brody (868) for New Yorker (1,403) on 07 Oct 2018

Lewis's antics bring out his radically democratic politics: when the yearnings for power, self-expression, and love are thwarted, the ordinary…

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Review of A Star Is Born (2018)

By Richard Brody (868) for New Yorker (1,403) on 07 Oct 2018

What Cooper persuasively depicts is the fear factor of stardom-the sense of vulnerability, of a position that's both powerful and fragile…

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Review of The Hate U Give (2018)

By Richard Brody (868) for New Yorker (1,403) on 07 Oct 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…

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Review of Hotel by the River (2019)

By Richard Brody (868) for New Yorker (1,403) on 07 Oct 2018

The brisk and lyrical action, filmed in chilly black-and-white tones, is adorned with eccentric, symbolic details; the petty stuff of daily…

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Review of At Long Last Love (1975)

By Richard Brody (868) for New Yorker (1,403) on 03 Oct 2018

At Long Last Love is a lavish feast of performance; for that matter, like many great movies, it defines a mode of performance…

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Page 12 of 44

Richard Brody has written reviews for:

The New Yorker (1,837)
New Yorker (1,403)

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