Movie Reviews by Richard Brody - Page 7 of 44

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Review of The French Dispatch of the Liberty, Kansas Evening Sun (2021)

By Richard Brody (868) for The New Yorker (1,837) on 27 Oct 2021

The French Dispatch is perhaps Anderson’s best film to date. It is certainly his most accomplished…

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Review of Dune (2021)

By Richard Brody (868) for The New Yorker (1,837) on 25 Oct 2021

Because the pieces of the movie are calculated to fit together in unambiguous arrangements, the performances are reduced to ciphers…

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Review of The Last Duel (2021)

By Richard Brody (868) for The New Yorker (1,837) on 18 Oct 2021

The most disturbing and dissonant aspect of The Last Duel involves the filming of the sexual crime at its center…

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Review of No Time to Die (2021)

By Richard Brody (868) for The New Yorker (1,837) on 12 Oct 2021

The formulaic drama is of a piece with the movie’s action sequences, which exhaust their ingenuity from the get-go, with the Matera chase…

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Review of Lamb (2021)

By Richard Brody (868) for The New Yorker (1,837) on 11 Oct 2021

Lamb preens and strains to be admired even as it reduces its characters to pieces on a game board and its actors to puppets…

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Review of LAMB (2021)

By Richard Brody (868) for The New Yorker (1,837) on 11 Oct 2021

Lamb preens and strains to be admired even as it reduces its characters to pieces on a game board and its actors to puppets…

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Review of Titane (2021)

By Richard Brody (868) for The New Yorker (1,837) on 06 Oct 2021

Despite its physical horrors, the movie is also a celebration of the body, of the bond between pleasure and pain, agony and ecstasy—and that…

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Review of The Many Saints of Newark (2021)

By Richard Brody (868) for The New Yorker (1,837) on 04 Oct 2021

Over six seasons The Sopranos at least compensated for its reductive aesthetic with complex patterns of narrative information…

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Review of The Eyes of Tammy Faye (2021)

By Richard Brody (868) for The New Yorker (1,837) on 27 Sep 2021

In short, [Showalter] can’t see Tammy Faye as a person, rather than as a character in a media drama…

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Review of Cry Macho (2021)

By Richard Brody (868) for The New Yorker (1,837) on 16 Sep 2021

Cry Macho doesn’t resound with the hectic astonishment of The 15:17 to Paris or the tragic imagination of Sully, but it delivers whispers…

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Review of The Card Counter (2021)

By Richard Brody (868) for The New Yorker (1,837) on 14 Sep 2021

Above all, the film decries the impunity that the war’s masterminds and the country’s leaders enjoyed while William and other frontline…

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Review of The Year of the Everlasting Storm (2021)

By Richard Brody (868) for The New Yorker (1,837) on 03 Sep 2021

The films range widely in form—documentary, fiction, hybrid, and unclassifiable—as well as in tone, subject, style, and, for that matter,…

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Review of Candyman (2021)

By Richard Brody (868) for The New Yorker (1,837) on 26 Aug 2021

For all its symbolic heft and keen-eyed flair, there’s a scattershot quality to Candyman that has to do with the seemingly inescapable demands…

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Review of Respect (2021)

By Richard Brody (868) for The New Yorker (1,837) on 18 Aug 2021

The filmmakers of Respect aim at a wide audience with an altogether more obvious and calculating contrivance…

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Review of Annette (2021)

By Richard Brody (868) for The New Yorker (1,837) on 11 Aug 2021

For most of Annette, Carax films the actors singing mainly in long travelling shots that hardly reveal much personality on the part of either…

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Review of The Green Knight (2021)

By Richard Brody (868) for The New Yorker (1,837) on 03 Aug 2021

In The Green Knight, Lowery revises a legend, in style and in substance, in order to evoke a way of telling different stories, and of telling…

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Review of Val (2021)

By Richard Brody (868) for The New Yorker (1,837) on 29 Jul 2021

It is not a great film—its form is less personal than its substance, its revelations and insights come only intermittently…

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Review of Val (2021)

By Richard Brody (868) for The New Yorker (1,837) on 29 Jul 2021

It is not a great film—its form is less personal than its substance, its revelations and insights come only intermittently…

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Review of Old (2021)

By Richard Brody (868) for The New Yorker (1,837) on 23 Jul 2021

With Old, facing the constraints of filming during the pandemic—on a project that he’d nonetheless planned before it—Shyamalan has created…

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Review of Roadrunner: A Film About Anthony Bourdain (2021)

By Richard Brody (868) for The New Yorker (1,837) on 20 Jul 2021

The documentary is a mere encyclopedia-like info-product, which reduces its rich audiovisual archival material and its heartfelt interviews…

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Richard Brody has written reviews for:

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

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