Critic Reviews
| 100 |
The New York Times
Brazil may not be the best film of the year, but it's a remarkable accomplishment for Mr. Gilliam, whose satirical and cautionary impulses work beautifully together. His film's ambitious visual style bears this out, combining grim, overpowering architecture with clever throwaway touches.
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| 100 |
Austin Chronicle
This modern cult classic is a triumphantly dark comedy directed by one of the film world's truly original visionaries, Terry Gilliam. "Imagination" is this futuristic film’s middle name.
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| 100 |
Chicago Reader
A ferociously creative 1985 black comedy filled with wild tonal contrasts, swarming details, and unfettered visual invention--every shot carries a charge of surprise and delight.
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| 100 |
Entertainment Weekly
Staff (Not Credited)
One of those rare gems that prove equally stunning on both aesthetic and cerebral levels.
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| 100 |
Film.com
For all its occasional long-windedness and visual dazzle, Brazil may be the "Strangelove" of the 1980s.
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| 100 |
San Francisco Examiner
It's a glimmering hunk of fractured brilliance riddled with Orwellian paranoia encased in a production design seemingly pieced together from the shared dreams of Franz Kakfa and Salvador Dali, and shot from cruelly low angles.
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| 100 |
Time
There is not a more daft, more original or haunting vision to be seen on American movie screens this year... A terrific movie has escaped the asylum without a lobotomy. The good guys, the few directors itching to make films away from the assembly line, won one for a change. [30 Dec 1985, p.84]
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| 100 |
Village Voice
It remains a stunning achievement, if nearly as exhausting and frustrating as the Tex Avery bureaucracy it roasts, but Gilliam's stylistic dysfunctionalities, art-directed out of junkyards, are what still percolate in the forebrain.
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| 90 |
Variety
Staff (Not Credited)
Chillingly hilarious.
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| 70 |
TV Guide
Staff (Not Credited)
Blindingly obtuse, excessively morose, the film is nevertheless dazzling in its inventive and massive sets and spectacular in its techniques...A powerful work that is both bleakly funny and breathtakingly assured.
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| 50 |
Chicago Sun-Times
Perhaps it is not supposed to be clear; perhaps the movie's air of confusion is part of its paranoid vision. There are individual moments that create sharp images (shock troops drilling through a ceiling, De Niro wrestling with the almost obscene wiring and tubing inside a wall, the movie's obsession with bizarre duct work), but there seems to be no sure hand at the controls.
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| 40 |
The New Republic
Brazil doesn't add up to much, not only because its cautionary tales are familiar, but because it has no real point of view, nothing urgent under its facile symbols. And the story winds on and on looking for a finish. Three or four times I reached for my coat prematurely. [17 Feb 1986, p.26]
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