Movie Reviews by Richard Brody - Page 29 of 44

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Review of Entertainment (2015)

By Richard Brody (868) for New Yorker (1,403) on 09 Nov 2015

The film is both jagged and suave, like an orchestrated concept album by a garage band…

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Review of It's Entertainment (2014)

By Richard Brody (868) for New Yorker (1,403) on 09 Nov 2015

The film is both jagged and suave, like an orchestrated concept album by a garage band…

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Review of In Jackson Heights (2015)

By Richard Brody (868) for New Yorker (1,403) on 02 Nov 2015

Wiseman’s very subject is the difference between neighborhood and community—between the happenstance of urban geography and the commitment…

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Review of Suffragette (2015)

By Richard Brody (868) for New Yorker (1,403) on 02 Nov 2015

The script, by Abi Morgan, filters out the contextual complexities of politics, and Sarah Gavron's direction reduces difficult situations to…

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Review of Crimson Peak (2015)

By Richard Brody (868) for New Yorker (1,403) on 26 Oct 2015

Del Toro builds a tight plot but never develops it; his frames are overdecorated with macabre clutter and smothered in shadow, but the atmosphere…

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Review of Bamboozled (2000)

By Richard Brody (868) for New Yorker (1,403) on 26 Oct 2015

With a wide range of incisive, sardonic, hyperbolic humor and drama, Lee sketches the circular connections between racist images, racist policies,…

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Review of Saboteur (1942)

By Richard Brody (868) for New Yorker (1,403) on 26 Oct 2015

For his first thriller set in America, from 1942, Alfred Hitchcock runs loopily through a gamut of genres, filming in a range of settings,…

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Review of Field Niggas (2015)

By Richard Brody (868) for The New Yorker (1,837) on 14 Oct 2015

An intimate movie with a metaphysical grandeur, a detailed local inquiry that displays the crushing power of societal forces as well as the…

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Review of The Marriage Circle (1924)

By Richard Brody (868) for New Yorker (1,403) on 11 Oct 2015

For his second American film, from 1923, Ernst Lubitsch turned a drawing-room farce into bittersweet chamber music-which, aptly, plays out in Vienna…

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Review of The Assassin (2015)

By Richard Brody (868) for New Yorker (1,403) on 11 Oct 2015

At its most persuasive, it conjures live-action versions of Chinese paintings, as if Hou were more at ease with the settings and stakes than…

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Review of F for Fake (1973)

By Richard Brody (868) for New Yorker (1,403) on 10 Oct 2015

A masterwork of montage, a breathlessly frenzied collage of disparate sources that conjure the unholy tempest of a great man and a great mind…

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Review of Right Now, Wrong Then (2015)

By Richard Brody (868) for New Yorker (1,403) on 07 Oct 2015

Either hour alone would be a wry, incisive, quietly painful drama, set at the intersection of art and life, about foregrounded action and the…

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Review of The Intern (2010)

By Richard Brody (868) for New Yorker (1,403) on 07 Oct 2015

This earnest, effusive haut-bourgeois fantasy, by the writer and director Nancy Meyers, runs roughshod over rational skepticism with the force…

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Review of 99 Homes (2015)

By Richard Brody (868) for New Yorker (1,403) on 07 Oct 2015

A simplistic but stirring morality play centered on the pressure point of the savings-and-loan crisis…

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Review of War Room (2015)

By Richard Brody (868) for New Yorker (1,403) on 07 Oct 2015

Kendrick's view of Christian devotion involves only trivial sacrifices and offers a gospel of self-help that masks its wider doctrinal implications…

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Review of The Intern (2015)

By Richard Brody (868) for New Yorker (1,403) on 07 Oct 2015

This earnest, effusive haut-bourgeois fantasy, by the writer and director Nancy Meyers, runs roughshod over rational skepticism with the force…

Read Review

Review of The Visit (2015)

By Richard Brody (868) for New Yorker (1,403) on 20 Sep 2015

For all its intelligence and craft, M. Night Shyamalan's foray into the genre of found-footage horror has the feeling of homework done well…

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Review of The Visit (2015)

By Richard Brody (868) for New Yorker (1,403) on 20 Sep 2015

For all its intelligence and craft, M. Night Shyamalan's foray into the genre of found-footage horror has the feeling of homework done well…

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Review of The Visit (2015)

By Richard Brody (868) for New Yorker (1,403) on 20 Sep 2015

For all its intelligence and craft, M. Night Shyamalan's foray into the genre of found-footage horror has the feeling of homework done well…

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Review of Marnie (1964)

By Richard Brody (868) for New Yorker (1,403) on 20 Sep 2015

Psychologically resonant, visually transcendent film…

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Page 29 of 44

Richard Brody has written reviews for:

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

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