Richard Brody

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For 374 reviews, this critic has graded:
  • 51% higher than the average critic
  • 2% same as the average critic
  • 47% lower than the average critic
On average, this critic grades 7.9 points higher than other critics. (0-100 point scale)

Richard Brody's Scores

  • Movies
  • TV
Average review score: 72
Highest review score: 100 Vertigo
Lowest review score: 10 Zack Snyder's Justice League
Score distribution:
  1. Negative: 15 out of 374
374 movie reviews
    • 73 Metascore
    • 80 Richard Brody
    For all the film’s roiling action, its inner life is in little grace notes that open enormous vistas of time.
    • 74 Metascore
    • 60 Richard Brody
    In excluding conversation, commentary, analysis, context, and personality, Frammartino is a cinematic Icarus: he strains high for sublimity and finds a deck of picture postcards.
    • 60 Metascore
    • 30 Richard Brody
    The involvement of a stylish horror-film director, Sam Raimi, in this tawdry slog of corporate constraint is as fascinating as it is disheartening.
    • 87 Metascore
    • 90 Richard Brody
    Here, more than ever, Hong’s cinema is also revealed to be a philosophy—his method not a means but an end in itself, an embrace of the history of the art and a preservation of its future in the eternal present tense of creation.
    • 78 Metascore
    • 70 Richard Brody
    Though the violence never uncorks and the story takes a sentimental turn, the deep shadows, the jarring angles and cuts, and the idiosyncratic whims of gesture evoke a sorry underworld that’s out of joint, out of luck, and out of time.
    • 82 Metascore
    • 70 Richard Brody
    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 of modern life over all.
    • 54 Metascore
    • 100 Richard Brody
    It’s as daring and original a work of political cinema and personal conscience as the current cinema can offer.
    • 82 Metascore
    • 50 Richard Brody
    Instead of the roots of Shakespeare’s play, The Northman merely serves up its raw material both half-baked and overcooked.
    • 91 Metascore
    • 90 Richard Brody
    A work of practical realism that stands as a manifesto for the imaginative power of observation and for the political power of the imagination.
    • 76 Metascore
    • 50 Richard Brody
    Audiard may know and understand something about romantic entanglements, family commitments, and professional lives. But by centering his characters’ desire and pleasure, and then filming these aspects of their lives with smarmy smugness, he sacrifices the realm of knowledge in yielding to fantasy.
    • 55 Metascore
    • 40 Richard Brody
    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 films. In its chaotic whirl of tinsel images, it thumbs its nose at the kind of plain realism that too often passes as synonymous with sincerity.
    • 80 Metascore
    • 50 Richard Brody
    Cow
    Arnold, a major artist of cinematic fiction, has made characters’ self-presentation, their sense of performance in daily life, a crucial part of her most original drama, “American Honey.” In “Cow,” Arnold hasn’t considered her subjects or her place in their world as stringently or as originally.
    • 34 Metascore
    • 50 Richard Brody
    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 emotional core, is authentic, pugnacious, derisive.
    • 79 Metascore
    • 80 Richard Brody
    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.
    • 81 Metascore
    • 40 Richard Brody
    With its bland and faux-universal life lessons that cheaply ethicalize expensive sensationalism, the film comes off as a sickly cynical feature-length directorial pitch reel for a Marvel movie.
    • 79 Metascore
    • 70 Richard Brody
    For all the specific accusations and denunciations that Y—and Lapid—level at Israeli politics and culture, “Ahed’s Knee” is, above all, a work of cinematopoeia: it looks and sounds and feels like what it means.
    • 66 Metascore
    • 80 Richard Brody
    Master is a tensely effective, terrifyingly affecting drama that’s also a virtual vision of the power and the purpose of the modern right-wing war on truth.
    • 72 Metascore
    • 50 Richard Brody
    The movie’s solid dramatic architecture is essentially uninhabited—“The Batman” is a cinematic house populated only by phantoms with no trace of a complex mental life.
    • 79 Metascore
    • 70 Richard Brody
    After Yang shows how easily the taste for beauty can be tainted, subverted, distorted, and abused by the powers that be.
    • 74 Metascore
    • 80 Richard Brody
    The silences that overwhelm the movie’s confrontational rages and the suppression of backstory details, underplaying motives and emphasizing action, thrust “Fire” out of the realm of psychological drama and into shocking emotional immediacy.
    • tbd Metascore
    • 80 Richard Brody
    The exemplary figure of Ropert’s film is Solange’s retreat into a sharply expressive silence, captured in poised and precisely composed images, that resounds as clearly as a cry of agony.
    • 42 Metascore
    • 70 Richard Brody
    In Desplechin’s implicit view of his artistic heroes and milieu, he turns Roth’s personal story into his own.
    • 73 Metascore
    • 80 Richard Brody
    Its core of information is largely a footnote to Aaron Sorkin’s drama “Being the Ricardos,” but, with access to previously unreleased audio tapes recorded by Ball and Arnaz, Poehler vividly and poignantly evokes their offscreen personalities.
    • 77 Metascore
    • 80 Richard Brody
    Through Glassman’s diligent and empathetic investigations, it becomes a film of documents, in which the aura of the letters—the worlds that they contain in their text and evoke in their sheer physical presence—generates overwhelming emotional power.
    • 66 Metascore
    • 30 Richard Brody
    Cyrano is a thuddingly dull film that sinks under the ponderous undigested mass of its own bombast, squandering the talents of a fine cast and a fine concept.
    • 74 Metascore
    • 40 Richard Brody
    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 makes its good feelings feel bad.
    • 75 Metascore
    • 80 Richard Brody
    The principal story that The Automat tells is that of a commercial vision meshing with an aesthetic one, the transformation of cheap dining into a sort of theatrical experience, complete with a stage setting of authentic craft and luxury, in which the banal purchase of food becomes a tour de force of industrial ingenuity.
    • 75 Metascore
    • 70 Richard Brody
    The no-holds-barred, extravagantly playful methods by which Audley and Birney conjure the audacious yet coherent tale of supernatural menaces and splendors are the movie’s prime achievement.
    • 51 Metascore
    • 70 Richard Brody
    If “Marry Me” plays with the obvious and brings it to obvious conclusions, its actors nonetheless invest its gestures and its dialogue, its broad lines of action and its closeup incarnations, with the spark of surprise.
    • 66 Metascore
    • 70 Richard Brody
    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.

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