Movie Reviews by Richard Brody - Page 4 of 44

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Review of Elvis (2022)

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

Elvis is a gaudily decorated Wikipedia article that owes little to its sense of style; it’s a film of substance, but of bare substance, a…

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Review of Beba (2022)

By Richard Brody (868) for The New Yorker (1,837) on 22 Jun 2022

Beba is an intimate film with a grand scope; Huntt recognizes herself and her family as characters in a mighty drama…

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Review of Cha Cha Real Smooth (2022)

By Richard Brody (868) for The New Yorker (1,837) on 17 Jun 2022

The entire film is tinged with a cloying glaze that seeps into the interstices of the drama and limits his characters’ range of motion…

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Review of Hustle (2022)

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

Though with little in the way of directorial originality, character development, or social perspective to recommend it, “Hustle” manages…

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Review of Crimes of the Future (2022)

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

Crimes of the Future is, for better and worse, a conceptual film; it’s less an experience than it is an idea, less a drama of characters’…

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Review of RRR (2022)

By Richard Brody (868) for The New Yorker (1,837) on 02 Jun 2022

For all its political determination, RRR is also a musical, and an electrifying one…

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Review of Benediction (2021)

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

The film brings the past to life with a vividness and an immediacy that seem wrenched from Davies’s very soul…

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Review of Benediction (2022)

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

The film brings the past to life with a vividness and an immediacy that seem wrenched from Davies’s very soul…

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Review of Top Gun: Maverick (2022)

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

What’s most impressive about Top Gun: Maverick is its speed—not the speed of the planes in flight but the speed with which the movie dashes…

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Review of Armageddon Time (2022)

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

For all the film’s roiling action, its inner life is in little grace notes that open enormous vistas of time…

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Review of Doctor Strange in the Multiverse of Madness (2022)

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

The involvement of a stylish horror-film director, Sam Raimi, in this tawdry slog of corporate constraint is as fascinating as it is disheartening…

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Review of Vortex (2022)

By Richard Brody (868) for The New Yorker (1,837) on 29 Apr 2022

For all its observational realism, Vortex is a message movie, a work of philosophical art that packs a grim view not merely of old age but…

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Review of Vortex (2021)

By Richard Brody (868) for The New Yorker (1,837) on 29 Apr 2022

For all its observational realism, Vortex is a message movie, a work of philosophical art that packs a grim view not merely of old age but…

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Review of The Northman (2022)

By Richard Brody (868) for The New Yorker (1,837) on 25 Apr 2022

Instead of the roots of Shakespeare’s play, The Northman merely serves up its raw material both half-baked and overcooked…

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Review of Hit the Road (2021)

By Richard Brody (868) for The New Yorker (1,837) on 18 Apr 2022

A work of practical realism that stands as a manifesto for the imaginative power of observation and for the political power of the imagination…

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Review of Paris, 13th District (2021)

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

Audiard may know and understand something about romantic entanglements, family commitments, and professional lives…

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Review of Ambulance (2022)

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

If the movie has any merit at all, it’s in the seemingly unintentional mockery of the conventions and styles of far more purposeful and intention-laden…

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Review of The Bubble (2022)

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

The Bubble (which Apatow co-wrote with Pam Brady) is a sort of good bad movie, in which the aesthetic falls flat but the personal motive, the…

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Review of Apollo 10½: A Space Age Childhood (2022)

By Richard Brody (868) for The New Yorker (1,837) on 31 Mar 2022

Apollo 10 1/2 unites the inner and outer life in a form of cultural autobiography, and it does so with a unique sense of cinematic style and form…

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Review of Everything Everywhere All at Once (2022)

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

With its bland and faux-universal life lessons that cheaply ethicalize expensive sensationalism, the film comes off as a sickly cynical feature-length…

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Page 4 of 44

Richard Brody has written reviews for:

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

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