Rotten Tomatoes
Movies Tv shows RT App News Showtimes
Critics list

Richard Brody

Tomatometer-approved critic
Publications:

Reviews

Movies TV Shows
The Wizard of the Kremlin (2025) 47% EDIT “Instead of looking behind the scenes at cloistered men of power saying the quiet part out loud, Assayas’s glossily refined vision never shows them voicing their ideas at all. That failure is as much a problem of form as of substance.” – The New Yorker May 14, 2026 Full Review The Ozu Diaries (2025) EDIT “Daniel Raim’s documentary “The Ozu Diaries,” which brings together clips from many of Ozu’s great films with voice-over readings of Ozu’s diaries and interviews, helps to clarify his achievements. ” – The New Yorker May 12, 2026 Full Review Two Pianos (2025) 77% EDIT “It finds Desplechin at the height of his creative energy, and the vigor of the filming is undeniable -- but it reflects Desplechin’s affinity for the story, and his delight in unfolding it, with an efficiency that’s disguised as fullness.” – The New Yorker May 12, 2026 Full Review Michael (2026) 39% EDIT “Setting aside the woeful omission, though, and considering the film outside the realm of preëxisting facts, as if it were a work of fiction about a fictitious character, Michael still counts as only a modestly noteworthy achievement, enjoyable yet flawed.” – The New Yorker Apr 27, 2026 Full Review I Swear (2025) 97% EDIT “"I Swear,” then, isn’t just an account of Davidson’s life. It’s a direct extension of his activism, and its effectiveness as an educational tool is what renders it frictionless and predictable as a drama.” – The New Yorker Apr 21, 2026 Full Review Mother Mary (2026) 71% EDIT “The result feels like a Hollywood production done on the cheap, with strenuous efforts to mask its small scale. ” – The New Yorker Apr 21, 2026 Full Review Blue Heron (2025) 97% EDIT “It’s a memory-film that captures inner life with physical style: patience, speed, precision, and breathtaking leaps. ” – The New Yorker Apr 14, 2026 Full Review The Drama (2026) 76% EDIT “Borgli offers a childish view of romance, leaping from acquaintance to engagement with no substance in between, and the fancy editing scheme of flashbacks and leaps ahead merely calls attention to the underlying void.” – The New Yorker Apr 7, 2026 Full Review Yes (2025) 91% EDIT “ “Yes” is a daring, angry, anguished rant that feels first person in every aspect except the cinematic one; it must have taken ropes to keep Lapid from leaping out of the director’s chair and popping up in front of the camera. ” – The New Yorker Mar 31, 2026 Full Review 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) 93% 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) 57% 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) 96% 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) 67% 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) 89% 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) 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) 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
No Reviews Yet
Load More