Movie Reviews by Richard Brody - Page 3 of 44

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Review of The Fabelmans (2022)

By Richard Brody (868) for The New Yorker (1,837) on 16 Nov 2022

For all its tenderness, empathy, warmth, and verve, The Fabelmans has the feel of mythmaking—a feature-length promotional video for an authorized…

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Review of Black Panther: Wakanda Forever (2022)

By Richard Brody (868) for The New Yorker (1,837) on 09 Nov 2022

The images of Wakanda Forever allow for little creative interpretation; the performances are slotted into the plot like puzzle pieces…

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Review of Black Adam (2022)

By Richard Brody (868) for The New Yorker (1,837) on 28 Oct 2022

Black Adam feels like a place-filler for a movie that’s remaining to be made, but, in its bare and shrugged-off sufficiency, it does one…

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Review of The Novelist's Film (2022)

By Richard Brody (868) for The New Yorker (1,837) on 24 Oct 2022

The Novelist’s Film is straightforwardly chronological and naturalistic, but that makes it no less intricate or sophisticated a reflection…

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Review of Ticket to Paradise (2022)

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

To the extent that the movie’s charm depends on that of its two stars, they’re forced so rigidly into the plot’s contrivances that they…

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Review of Till (2022)

By Richard Brody (868) for The New Yorker (1,837) on 13 Oct 2022

Above all, Till is a work of mighty cinematic portraiture, with a range of closeups of Mamie that infuse the film with an overwhelming combination…

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Review of Till (2022)

By Richard Brody (868) for The New Yorker (1,837) on 13 Oct 2022

Above all, Till is a work of mighty cinematic portraiture, with a range of closeups of Mamie that infuse the film with an overwhelming combination…

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Review of TÁR (2022)

By Richard Brody (868) for The New Yorker (1,837) on 12 Oct 2022

The movie is a slew of illustrated plot points and talking points but, between the shots and the slogans, neither its protagonist nor its world…

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Review of Amsterdam (2022)

By Richard Brody (868) for The New Yorker (1,837) on 11 Oct 2022

Russell does more than fill the film with its high-wattage parade of stars, who energize the proceedings from beginning to end…

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Review of Triangle of Sadness (2022)

By Richard Brody (868) for The New Yorker (1,837) on 06 Oct 2022

Only the fine cast lends life to the movie’s superficial caricatures, even if the hectic, blatant script edges the performances toward the…

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Review of Don't Worry Darling (2022)

By Richard Brody (868) for The New Yorker (1,837) on 26 Sep 2022

The film’s self-undercutting subtleties and its big dramatic reveal serve a greater purpose: its depiction of oppression in an out-of-whack,…

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Review of Blonde (2022)

By Richard Brody (868) for The New Yorker (1,837) on 20 Sep 2022

You’ve got to hand it to Dominik: he doesn’t only outdo the ostensibly crass showmen of classic Hollywood in overt artistic ambition but…

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Review of Athena (2022)

By Richard Brody (868) for The New Yorker (1,837) on 12 Sep 2022

Athena is a vision of political apocalypse, and it names the enemy while throwing its cinematic hands in the air, along with the camera…

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Review of The Cathedral (2022)

By Richard Brody (868) for The New Yorker (1,837) on 01 Sep 2022

With the help of blankly matter-of-fact yet omniscient voice-over narration (spoken by Madeleine James), D’Ambrose achieves the span and…

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Review of The Cathedral (2022)

By Richard Brody (868) for The New Yorker (1,837) on 01 Sep 2022

With the help of blankly matter-of-fact yet omniscient voice-over narration (spoken by Madeleine James), D’Ambrose achieves the span and…

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Review of Funny Pages (2022)

By Richard Brody (868) for The New Yorker (1,837) on 24 Aug 2022

Whatever sense of obsession drives Robert’s art and whatever emotional freedom inspires Miles’s, neither is found in the cinematic aesthetic…

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Review of Emily the Criminal (2022)

By Richard Brody (868) for The New Yorker (1,837) on 11 Aug 2022

Ford creates a title character, played by Aubrey Plaza, who seems to carry a world with her, and he sets the action in a shadow realm of workaday…

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Review of Sharp Stick (2022)

By Richard Brody (868) for The New Yorker (1,837) on 03 Aug 2022

In Sharp Stick, Dunham forces a flood of experience and pain into a compact vessel…

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Review of Nope (2022)

By Richard Brody (868) for The New Yorker (1,837) on 26 Jul 2022

Nope is one of the great movies about moviemaking, about the moral and spiritual implications of cinematic representation itself—especially…

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Review of Thor: Love and Thunder (2022)

By Richard Brody (868) for The New Yorker (1,837) on 13 Jul 2022

Thor: Love and Thunder, directed by Taika Waititi, is far from the worst of Marvel’s big-screen offerings…

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Richard Brody has written reviews for:

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

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