Movie Reviews by Richard Brody - Page 2 of 44

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Review of A Thousand and One (2023)

By Richard Brody (868) for The New Yorker (1,837) on 29 Mar 2023

Rockwell’s vigorous detailing of personal life—with its evocation of inner lives—is at the heart of its political vision and of its dramatic…

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Review of Pinball: The Man Who Saved the Game (2023)

By Richard Brody (868) for The New Yorker (1,837) on 23 Mar 2023

The Braggs pull off the vertiginous intricacy of this narrative with playful cheer and breezy charm, which is carried along by the performances,…

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Review of John Wick: Chapter 4 (2023)

By Richard Brody (868) for The New Yorker (1,837) on 21 Mar 2023

In short, the last half hour or so of the movie’s nearly three-hour span is giddily intense, swoony, swashbuckling, and sensational yet superficial…

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Review of Rewind & Play (2023)

By Richard Brody (868) for The New Yorker (1,837) on 14 Mar 2023

In Rewind & Play, Gomis does more than reveal the discussion that didn’t see the light of day in 1970; he reveals the cinematic methods by…

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Review of Palm Trees and Power Lines (2023)

By Richard Brody (868) for The New Yorker (1,837) on 07 Mar 2023

It’s a contemporary story that feels as if it has been worn away to a featureless, atemporal perfection of the sort that has been handed…

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Review of Creed III (2023)

By Richard Brody (868) for The New Yorker (1,837) on 02 Mar 2023

Creed III makes clear that Jordan, in directing and starring, has serious matters, personal and professional and societal, in mind…

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Review of Ant-Man and the Wasp: Quantumania (2023)

By Richard Brody (868) for The New Yorker (1,837) on 15 Feb 2023

The best thing about “Quantumania” is, surprisingly, its script (by Jeff Loveness), which is like saying that the best thing about a building…

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Review of Magic Mike's Last Dance (2023)

By Richard Brody (868) for The New Yorker (1,837) on 08 Feb 2023

With its straining yet deadened feel, this is the movie of a director who dreams of putting on one last show before going home…

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Review of Knock at the Cabin (2023)

By Richard Brody (868) for The New Yorker (1,837) on 06 Feb 2023

What’s jolting about Shyamalan’s film is its call to capitulation…

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Review of passages (2023)

By Richard Brody (868) for The New Yorker (1,837) on 30 Jan 2023

The abruptness, the willfulness, the ferocity of “Passages” reflect, more than any other film by an American director that I’ve seen…

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Review of Passages (2023)

By Richard Brody (868) for The New Yorker (1,837) on 30 Jan 2023

The abruptness, the willfulness, the ferocity of “Passages” reflect, more than any other film by an American director that I’ve seen…

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Review of Skinamarink (2023)

By Richard Brody (868) for The New Yorker (1,837) on 18 Jan 2023

As impressive as the film is, the many thrillingly imaginative moments remain suspended and detached from each other, like scattered storyboard…

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Review of M3GAN (2022)

By Richard Brody (868) for The New Yorker (1,837) on 11 Jan 2023

There’s a different, far more substantial movie lurking within, yet the virtues of efficiency, clarity, surprise, and wit that enliven the…

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Review of Women Talking (2022)

By Richard Brody (868) for The New Yorker (1,837) on 06 Jan 2023

The exceptional, often overwhelming power of the script that Polley wrote, based on Miriam Toews’s novel, is, if not undercut, not amplified…

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Review of Babylon (2022)

By Richard Brody (868) for The New Yorker (1,837) on 02 Jan 2023

Artistically, what Babylon adds to the classic Hollywood that it celebrates is sex and nudity, drugs and violence, a more diverse cast, and…

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Review of Babylon (2022)

By Richard Brody (868) for The New Yorker (1,837) on 02 Jan 2023

Artistically, what Babylon adds to the classic Hollywood that it celebrates is sex and nudity, drugs and violence, a more diverse cast, and…

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Review of No Bears (2022)

By Richard Brody (868) for The New Yorker (1,837) on 21 Dec 2022

There’s palpable joy in the sheer ingenuity of the movie’s conception and in the realization of it…

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Review of Avatar: The Way of Water (2022)

By Richard Brody (868) for The New Yorker (1,837) on 19 Dec 2022

For all its sententious grandiosity and metaphorical politics, “The Way of Water” is a regimented and formalized excursion to an exclusive…

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Review of Empire of Light (2022)

By Richard Brody (868) for The New Yorker (1,837) on 14 Dec 2022

The trouble with Mendes’s film is in the effort to combine the pieces in a way that feels natural, in an artifice that’s devised to be…

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Review of The Eternal Daughter (2022)

By Richard Brody (868) for The New Yorker (1,837) on 30 Nov 2022

The Eternal Daughter is very much a two-hander for one actor, an astonishing tour de force for Swinton’s art and for Hogg’s writing and…

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Richard Brody has written reviews for:

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

Richard Brody is connected to:

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