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Richard Brody

Tomatometer-approved critic
Publications:

Reviews

Movies TV Shows
zi (2026) 71% 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) 86% 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) 98% 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) 100% 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) 100% 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) 91% 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) 94% 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) 81% 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) 23% 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 Peter Hujar's Day (2025) 92% EDIT “Sachs presents his characters’ intellect and emotion, their artistic energy, as inseparable from physicality: he avoids the cliché of talking heads and realizes the idea of talking bodies.” – The New Yorker Nov 7, 2025 Full Review Die My Love (2025) 74% EDIT “What’s lacking throughout, with this suppression of practicalities in favor of shocks and thrills, is imagination. Ramsay drowns her story in the extraordinary and can’t be bothered with what’s dramatic in the ordinary elements of her characters’ lives.” – The New Yorker Nov 4, 2025 Full Review Fire of Wind (2024) EDIT “What makes “Fire of Wind” superior to the kind of topicality that passes for political filmmaking in the art-house mainstream is its metapolitical essence. ” – The New Yorker Oct 30, 2025 Full Review Springsteen: Deliver Me from Nowhere (2025) 61% EDIT “No one expects a bio-pixposé of the Boss, but this movie is so respectful and dignified as to seem like puff. ” – The New Yorker Oct 26, 2025 Full Review Hedda (2025) 89% EDIT “Thompson’s compressed fury provides a fiery core for DaCosta’s cinematic vision. The director wrenches apart Ibsen’s terse and precise mechanism and makes room for a proliferation of arresting moments.” – The New Yorker Oct 18, 2025 Full Review The Mastermind (2025) 90% EDIT “It offers the pleasures of being caught off guard both by major twists and by minor details whose startling originality merits discussion but that viewers should be allowed to discover unprepared. ” – The New Yorker Oct 15, 2025 Full Review Nouvelle Vague (2025) 92% EDIT ““Nouvelle Vague” isn’t a portrait of Godard by Linklater but a feature-length thank-you note, from Richard to Jean-Luc, for freeing him to make films his own way. ” – The New Yorker Oct 12, 2025 Full Review
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