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Last updated: 12 Jun 2026 at 22:42 UTC

Movie Reviews by Richard Brody - Page 19 of 44

361-380 of 868 Reviews

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Review of Atomic Blonde (2017)

By Richard Brody (868) for New Yorker (1,403) on 23 Jul 2017

The film strains to achieve a breathless panache and a lurid swagger for which David Leitch’s direction is too heavy-footed and literal…

Review of The Blot (1921)

By Richard Brody (868) for New Yorker (1,403) on 23 Jul 2017

Weber films this pain-seared drama with a meticulous eye for the telling detail-worn-out shoes, torn carpet, tatty furniture-and for the nuances…

Review of Valerian and the City of a Thousand Planets (2017)

By Richard Brody (868) for New Yorker (1,403) on 16 Jul 2017

The overwhelming quantity of effects offers little style or surprise; the movie is a joyless, effortful slog…

Review of Spider-Man: Homecoming (2017)

By Richard Brody (868) for New Yorker (1,403) on 16 Jul 2017

A strangely oblivious film, one that undercuts its story with exactly the sort of praise-hungriness that its hero learns to overcome…

Review of Dawson City: Frozen Time (2017)

By Richard Brody (868) for The New Yorker (1,837) on 03 Jul 2017

The film locates extraordinary political and cultural tributaries, marked by archival footage, that arise from the history of Dawson City and…

Review of The Big Sick (2017)

By Richard Brody (868) for New Yorker (1,403) on 02 Jul 2017

The Big Sick suffers from an excess of pleasantness, and this very pleasantness thins out its substance, blands out its tone, weakens its comedy…

Review of Transformers: The Last Knight (2017)

By Richard Brody (868) for The New Yorker (1,837) on 26 Jun 2017

The absolute tastelessness of Bay’s images, their stultifying service to platitudes and to merchandise, doesn’t at all diminish their wildly…

Review of The Little Hours (2017)

By Richard Brody (868) for New Yorker (1,403) on 25 Jun 2017

The good-natured comedy has only occasional outbursts of wildness; the cheerfully playful ribaldry of the writing and the performances can't…

Review of The B-Side: Elsa Dorfman's Portrait Photography (2017)

By Richard Brody (868) for New Yorker (1,403) on 25 Jun 2017

The depth of her art reflects a life richly lived, as does the wisdom of her epigrammatic musings…

Review of The Beguiled (2017)

By Richard Brody (868) for New Yorker (1,403) on 25 Jun 2017

The Beguiled, in its quasi-mathematical abstraction, amounts to little more than the baseline proof of [Coppola's] method-a reductio ad absurdum…

Review of The Beguiled (1971)

By Richard Brody (868) for New Yorker (1,403) on 25 Jun 2017

The story may sometimes come off as a ribald soldiers’ tale that Siegel, born in 1912, had been awaiting a sexual revolution to tell; still,…

Review of The Bad Batch (2017)

By Richard Brody (868) for New Yorker (1,403) on 18 Jun 2017

The writer and director, Ana Lily Amirpour, delivers this imaginative tale as a simplistic allegory of the haves and the have-nots; she ruefully…

Review of Wonder Woman (2017)

By Richard Brody (868) for New Yorker (1,403) on 11 Jun 2017

Wonder Woman is a superhero movie, and it fulfills the heroic and mythic demands of that genre, but it's also an entry in the genre of wisdom…

Review of It Comes at Night (2017)

By Richard Brody (868) for New Yorker (1,403) on 04 Jun 2017

This modest science-fiction thriller brings the hands-on vigor of independent filmmaking to a high-concept premise, but the results are insubstantial…

Review of Lions Love (1969)

By Richard Brody (868) for New Yorker (1,403) on 28 May 2017

More than a time capsule of events and moods-it's a living aesthetic model for revolutionary times…

Review of An Affair to Remember (1957)

By Richard Brody (868) for New Yorker (1,403) on 21 May 2017

McCarey plays the shipboard courtship for generous and tender laughs—the wryly staged first kiss is one of the sweetest in all cinema—but…

Review of Icaros: A Vision (2017)

By Richard Brody (868) for The New Yorker (1,837) on 14 May 2017

The hallucinatory power of ayahuasca and the incantatory lure of rituals fuse with existential dread in this darkly hypnotic drama…

Review of Snatched (2017)

By Richard Brody (868) for New Yorker (1,403) on 11 May 2017

Schumer and Hawn go dutifully through the film's paces, animating the movie with their mere presence while the best elements of their art stay…

Review of The Lovers (2017)

By Richard Brody (868) for New Yorker (1,403) on 07 May 2017

The movie exhausts itself in its conception and sits inert on the screen like an undigested mass of script pages…

Review of Casting JonBenet (2017)

By Richard Brody (868) for New Yorker (1,403) on 30 Apr 2017

Casting JonBenet, is in many ways a deeply unsatisfying, even infuriating film, but I wouldn't want not to have seen it…

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Page 19 of 44

Richard Brody has written reviews for:

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

Richard Brody is connected to:

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