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Richard Brody

Tomatometer-approved critic
Publications:

Reviews

Movies TV Shows
A Dragon Arrives! (2016) EDIT ““A Dragon Arrives!” leaps among time frames with a deft assertiveness that’s both clear and suspenseful.” – The New Yorker Mar 27, 2026 Full Review Dry Leaf (2025) 92% EDIT “The lo-fi video renders the grand, rugged landscapes in fiercely expressive images that play like cinematic Fauvism, as Irakli’s encounters with country people thrum with memory and mystery.” – The New Yorker Mar 27, 2026 Full Review Marc by Sofia (2025) 74% EDIT “Coppola observes the connection of big ideas to fine details, the power of intensive collaborations, and the ultimate creative helplessness once the show starts.” – The New Yorker Mar 20, 2026 Full Review THE BRIDE! (2026) 58% EDIT “Insofar as Gyllenhaal’s movie offers a corrective, it’s a conceptual delight. But, ultimately, the movie has the form of mismatched pieces stitched together and brought to life more willfully than coherently. ” – The New Yorker Mar 5, 2026 Full Review Ghost Elephants (2025) 100% EDIT “It will come as no surprise to the filmmaker’s admirers that Herzog relishes every step of the journey. Every digression here feels like a destination. ” – The New Yorker Mar 3, 2026 Full Review What Does that Nature Say to You (2025) 100% EDIT “It’s a tale that any cinephile could imagine Rohmer confecting, but Hong adds a crucial element utterly alien to the Rohmerverse: doubt. His vertiginous ending, suspended over a romantic abyss, redefines the very notion of an emotional breakdown.” – The New Yorker Mar 3, 2026 Full Review Délits Flagrants (1994) EDIT “Depardon depicts these face-to-face showdowns as litanies of misery... With radical austerity, he evokes the burden of hard lives and the crushing force of governmental power.” – The New Yorker Feb 24, 2026 Full Review zi (2026) 68% EDIT “Kogonada’s inspiration is to render this mystery poetic, political, and, above all, incontrovertibly material, in a way as distinctive as the architectural realm of “Columbus.”” – The New Yorker Feb 12, 2026 Full Review Filipiñana (2026) 88% EDIT “A great film can be recognized from its first shot, and that’s how it is with Filipiñana, which I knew absolutely nothing about in advance and which grabbed me from the very beginning, announcing itself as a masterwork.” – The New Yorker Feb 12, 2026 Full Review My Father's Shadow (2025) 97% EDIT “The unusual power of My Father’s Shadow, for all its subjectivity, comes from its elements of impersonality -- from the seemingly scriptural authority with which memory is sublimated into myths and relationships into destinies.” – The New Yorker Feb 10, 2026 Full Review The President's Cake (2025) 99% EDIT “The bonds of the children, Bibi, the postman, and a very few others in their circle endow “The President’s Cake” with a grandly humanistic warmth that’s all the stronger for the mighty pressure under which it’s forged. ” – The New Yorker Feb 10, 2026 Full Review Mr. Nobody Against Putin (2025) 100% EDIT “The result, featuring a copious voice-over by Talankin, is an exemplary work of cinematic modernism, a reflexive film that turns its genesis into its subject and its moral essence.” – The New Yorker Jan 23, 2026 Full Review Natchez (2025) 97% EDIT “The documentary puts personalities to ideas; it teems with notable characters, spanning a range from righteous to indifferent to ignoble, who excel at speaking their minds and expressing their emotions when a camera is pointed at them. ” – The New Yorker Jan 23, 2026 Full Review A Private Life (2025) 81% EDIT “Foster gives a taut performance despite the unstrung absurdities of the plot. The story is anchored in Paris’s Jewish community, but the context remains anecdotal and unexplored.” – The New Yorker Jan 20, 2026 Full Review The Chronology of Water (2025) 90% EDIT “The movie’s remarkable approach to memory presents it as the opposite of free association—call it compulsory association, the suppression of freedom by the power of ingrained and imposed patterns.” – The New Yorker Jan 14, 2026 Full Review Dead Man's Wire (2025) 92% EDIT “The movie’s tight focus on the sixty-three hours of Tony’s furious spree sacrifices any chance of a fuller view of his personality, his thoughts, his imaginings. Its treatment of the media-world subplot is both too little and too much.” – The New Yorker Jan 13, 2026 Full Review Young Mothers (2025) 95% EDIT “If the film’s interplay of stories tilts toward the schematic, it also encourages us to look past the straightforward trappings of realism and discern a deeper structure of rhyme and rhythm. ” – The New Yorker Jan 2, 2026 Full Review Marty Supreme (2025) 93% EDIT “It’s one of the very few movies that dramatize -- hyperbolically, comedically, even mockingly, yet optimistically -- the boldness unto folly of a young fanatic turning ambition into reality..” – The New Yorker Dec 20, 2025 Full Review Father Mother Sister Brother (2025) 82% EDIT “It’s principally a textual experiment that suggests, even quasi-scientifically, the underlying universality of families amid their aesthetic differences. ” – The New Yorker Dec 20, 2025 Full Review Ella McCay (2025) 24% EDIT “Despite the heartwarming story that’s revealed, this is an anti-romantic comedy of failed males and the trouble they cause. Brooks gazes hopefully at a new generation of self-unsure men whose acceptance of weakness is their strength.” – The New Yorker Dec 13, 2025 Full Review Put Your Soul on Your Hand and Walk (2025) 98% EDIT “Farsi hasn’t made a rhetorical film of persuasion -- anyone who needs a name and a face to be moved by reports of killings is beyond persuading -- but a personal memorial for a friend and a public archive of that friend’s work.” – The New Yorker Dec 9, 2025 Full Review Suburban Fury (2024) 100% EDIT “The context is filled out with a tangy gathering of archival clips; the effect is a refraction of history through a uniquely warped prism, to nonetheless revelatory effect.” – The New Yorker Dec 2, 2025 Full Review The Secret Agent (2025) 98% EDIT “[Writer-director Kleber Mendonça Filho] crafts a tight story with startling freedom, leaping between characters in order to conjure their fateful interconnections, while giving them all, persecuted and persecutors alike, an identity and a voice.” – The New Yorker Nov 26, 2025 Full Review Benita (2025) EDIT “Berliner honors a fascinating artist who, with grim irony, becomes better known than ever through his memorial tribute.” – The New Yorker Nov 25, 2025 Full Review Zodiac Killer Project (2025) 90% EDIT “With its cagey pursuit of impossible dreams, Shackleton’s hypothetical method, both copious and withholding, is a leap ahead in first-person cinema.” – The New Yorker Nov 18, 2025 Full Review
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