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Last updated: 09 Jun 2026 at 15:27 UTC

Movie Reviews by Richard Brody - Page 5 of 44

81-100 of 868 Reviews

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Review of The Batman (2022)

By Richard Brody (868) for The New Yorker (1,837) on 10 Mar 2022

The movie’s solid dramatic architecture is essentially uninhabited—“The Batman” is a cinematic house populated only by phantoms with…

Review of After Yang (2022)

By Richard Brody (868) for The New Yorker (1,837) on 07 Mar 2022

After Yang shows how easily the taste for beauty can be tainted, subverted, distorted, and abused by the powers that be…

Review of Deception (2022)

By Richard Brody (868) for The New Yorker (1,837) on 04 Mar 2022

In Desplechin’s implicit view of his artistic heroes and milieu, he turns Roth’s personal story into his own…

Review of Both Sides of the Blade (2022)

By Richard Brody (868) for The New Yorker (1,837) on 04 Mar 2022

The silences that overwhelm the movie’s confrontational rages and the suppression of backstory details, underplaying motives and emphasizing…

Review of Deception (2022)

By Richard Brody (868) for The New Yorker (1,837) on 04 Mar 2022

In Desplechin’s implicit view of his artistic heroes and milieu, he turns Roth’s personal story into his own…

Review of Dear Mr. Brody (2022)

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

Through Glassman’s diligent and empathetic investigations, it becomes a film of documents, in which the aura of the letters—the worlds…

Review of Lucy and Desi (2022)

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

Its core of information is largely a footnote to Aaron Sorkin’s drama “Being the Ricardos,” but, with access to previously unreleased…

Review of Cyrano (2021)

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

Cyrano is a thuddingly dull film that sinks under the ponderous undigested mass of its own bombast, squandering the talents of a fine cast…

Review of CODA (2021)

By Richard Brody (868) for The New Yorker (1,837) on 23 Feb 2022

The sense of calculation makes the journey feel like a lockstep march; the movie’s sense of a story that’s dictated rather than observed…

Review of Coda (2021)

By Richard Brody (868) for The New Yorker (1,837) on 23 Feb 2022

The sense of calculation makes the journey feel like a lockstep march; the movie’s sense of a story that’s dictated rather than observed…

Review of Marry Me (2022)

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

If “Marry Me” plays with the obvious and brings it to obvious conclusions, its actors nonetheless invest its gestures and its dialogue,…

Review of The Sky Is Everywhere (2022)

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

The Sky Is Everywhere is a movie of inner vision, of fantasy and symbol, that coexists with the drama even when it doesn’t quite coalesce with it…

Review of Kimi (2022)

By Richard Brody (868) for The New Yorker (1,837) on 10 Feb 2022

Amid its tightly plotted action, it seethes with a rage that seems pressurized by the sealed-off grimness of the pandemic years…

Review of Moonfall (2022)

By Richard Brody (868) for The New Yorker (1,837) on 07 Feb 2022

The best parts of “Moonfall” feel like a sharp and cogent reproach to the corporate stolidity of the Marvel Cinematic Universe and other…

Review of Compartment No. 6 (2021)

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

The movie sinks, fast and deep, under the weight of dramatic shortcuts, overemphatic details, undercooked possibilities, unconsidered implications…

Review of Don't Look Up (2021)

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

The failure of topicality in “Don’t Look Up” is, not least, that the movie’s cynically apolitical view of politics contributes to the…

Review of The Matrix Resurrections (2021)

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

The action and the effects, so gleamingly creative in the original trilogy, are now C.G.I…

Review of The Lost Daughter (2021)

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

It’s a movie that, in adapting a novel by Ferrante, indicates the grievous lack in the current cinema of dramas that do what is done all…

Review of Parallel Mothers (2021)

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

Almodóvar pursues the politics of memory with uninhibited vigor, with a relentlessly physical immediacy that endows his tale of startling…

Review of The Tragedy of Macbeth (2021)

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

The over-all effect is of a striving toward a high style that isn’t achieved—and that undercuts the mighty import of the play…

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Richard Brody has written reviews for:

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

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