Richard Brody

Select another critic »
For 147 reviews, this critic has graded:
  • 61% higher than the average critic
  • 1% same as the average critic
  • 38% lower than the average critic
On average, this critic grades 14 points higher than other critics. (0-100 point scale)

Richard Brody's Scores

  • Movies
  • TV
Average review score: 77
Highest review score: 100 Columbus
Lowest review score: 30 I, Tonya
Score distribution:
  1. Negative: 3 out of 147
147 movie reviews
    • 87 Metascore
    • 100 Richard Brody
    It is a fiercely composed, historically informed, and richly textured film, as insightful regarding the particularities of the protagonist as it is on the artistic life — and on the life of its times.
    • 83 Metascore
    • 80 Richard Brody
    The movie is constructed entirely of a remarkable array of archival footage, including Beckermann’s recordings, that spotlights unresolved national traumas and unabated anti-Semitism.
    • 74 Metascore
    • 90 Richard Brody
    Southside with You, running a brisk hour and twenty minutes, is a fully realized, intricately imagined, warmhearted, sharp-witted, and perceptive drama, one that sticks close to its protagonists while resonating quietly but grandly with the sweep of a historical epic.
    • 80 Metascore
    • 80 Richard Brody
    Nyoni’s frank, confrontational style is both derisive and empathetic; she extracts powerful symbolic images from the oppressive environment.
    • 87 Metascore
    • 90 Richard Brody
    With microcosms of microcosms and reflections of reflections, Greene offers a passionately ambitious, patiently empathetic mapping of modern times.
    • 52 Metascore
    • 50 Richard Brody
    The shaded black-and-white cinematography and the dialectical romances mimic the styles and moods of nineteen-seventies French classics without their intimacy, rage, or historical scope.
    • 58 Metascore
    • 70 Richard Brody
    Despite clichéd depictions of Nazi atrocities, the movie persuasively evokes, with its wealth of details, the slender threads on which historical events—and historical truth—depend.
    • tbd Metascore
    • 100 Richard Brody
    It’s more than the portrait of an artist (or even of two); it’s a revelation and exaltation of the artistic essence, of the very nature of an artist’s life as an unending act of creation in itself.
    • 60 Metascore
    • 70 Richard Brody
    This takeoff on the children's-book series refreshingly balances sweet and bitter tones; Pooh's innocence irritates Christopher before it redeems him, and Madeline undertakes a bold adventure to gain her father's attention.
    • 93 Metascore
    • 100 Richard Brody
    Minding the Gap is a personal documentary of the highest sort, in which the film’s necessity to the filmmaker—and its obstacles, its resistances, its emotional and moral demands on him—are part of its very existence.
    • 74 Metascore
    • 70 Richard Brody
    The vigorous cast enlivens the conventional action, and brilliant comedic sallies by Awkwafina, as Rachel’s college friend, and Nico Santos, as Nick’s cousin, knock it for a loop.
    • 76 Metascore
    • 100 Richard Brody
    Decker pushes the action to the breaking point of fury, which the cast—and especially Howard, in one of the most accomplished teen performances ever—embodies with a flaying and self-scourging vulnerability.
    • 69 Metascore
    • 50 Richard Brody
    The director, Desiree Akhavan, who wrote the script with Cecilia Frugiuele (adapting a novel by Emily M. Danforth), expresses and elicits apt outrage, but the action is schematic and the characters are thinly sketched.
    • 90 Metascore
    • 100 Richard Brody
    Gavagai is an extraordinary and memorable film; its strong and clear emotional refinement arises from a rare force of imagination, a rare power of observation, a rare cinematic sense to fuse them, and a rare skill to realize them together.
    • 52 Metascore
    • 70 Richard Brody
    Though the story goes a country too far and gets lost in its dénouement, the movie is, for the most part, a playful and giddy delight.
    • 70 Metascore
    • 80 Richard Brody
    The director, Radu Jude, unfolds the horrific treatment, involving long needles, tight wraps, and a full-body cast, with an unflinching and fascinated specificity that contrasts with the teeming theatrical tableaux in which he films life in the lavish facility.
    • 83 Metascore
    • 90 Richard Brody
    The specifics of The Other Side of Everything far overleap the facts of regional politics; the movie is, in effect, a film of political philosophy, not only in Srbijanka’s trenchant, stirring, and tragic observations, but in its ever-relevant observation of the endemic reactionary counterweight to political progress: populist ethnocentrism and nationalism.
    • 89 Metascore
    • 50 Richard Brody
    Burnham’s eye for detail and nuance is keen, and several scenes...have a tightly scripted tension, but he smothers the story in sentiment, stereotypes, and good intentions. Despite Fisher’s calm and vivid performance, Kayla remains merely a collection of traits.
    • 81 Metascore
    • 100 Richard Brody
    Boots Riley’s first feature is a scintillating comedic outburst of political imagination and visionary fury.
    • 70 Metascore
    • 50 Richard Brody
    Reed, a comedic wizard, generates some moments of giddy wonder, but the earlier film’s freewheeling, low-key loopiness is replaced by a dull and dutiful plot that, with its forced references to other Marvel installments, squeezes the action to fit the franchise.
    • 63 Metascore
    • 50 Richard Brody
    The Zellner brothers, David and Nathan, wrote and directed this Western near-parody; though methodically conceived and occasionally tense, it’s slight and sluggish.
    • 49 Metascore
    • 50 Richard Brody
    The script, by Robert Rodat, skips around in time to elucidate the amped-up drama, but it never gets close to Berg’s own character. The film, directed by Ben Lewin, strongly suggests that Berg was gay, but leaves the theme undeveloped.
    • 73 Metascore
    • 60 Richard Brody
    Filmworker amounts to yet another rite of devotion in the ongoing cult of Kubrick—a cult that worked its power not just on Vitali but on all of modern cinema.
    • 72 Metascore
    • 90 Richard Brody
    Avowals of literary ambitions and familial devotion, stories of death and faith, and a bold dramatic structure—based on flashbacks and leaps forward in time—set the vagaries of work and love on the firm footing of destiny.
    • 58 Metascore
    • 50 Richard Brody
    The exaggerated, unambiguous expressivity and the connect-the-dots definitions of character (featuring pat confessions and reheated memories) reflect the closed-off academicism of acting workshops and screenplay pitches rather than the open-ended complexities of life.
    • 60 Metascore
    • 80 Richard Brody
    Serge Bozon’s sharply political comedy—a giddily imaginative reworking of Robert Louis Stevenson’s classic tale—stars Isabelle Huppert, who revels in its sly blend of dissonant humor, intellectual fervor, and macabre violence.
    • 89 Metascore
    • 90 Richard Brody
    The dramatic fusion of physical and administrative power captures nothing less than the bloody forging of modernity.
    • 60 Metascore
    • 80 Richard Brody
    Dumont films Joan’s spiritual conflicts and confrontations with playful exuberance but avoids frivolity; the ardent actors infuse Joan’s spirit of revolt with the eternal passions of youth.
    • 84 Metascore
    • 80 Richard Brody
    The movie’s panoramic cityscapes teem with the gritty details of emotional life: romance and chores, hope and despair and loss, bitter resentments and rowdy reckonings with mortality.
    • 80 Metascore
    • 90 Richard Brody
    [Hong's] tightrope-long takes of scenes filmed in settings ranging from the picturesque to the banal (restaurants and apartments, café terraces, Mediterranean beaches) have an intricate dramatic construction, replete with glittering asides and wondrous coincidences, to rival that of a Hollywood classic.

Top Trailers