Richard Brody
Richard Brody began writing for The New Yorker in 1999 and has contributed articles about the directors François Truffaut, Jean-Luc Godard, and Wes Anderson. Since 2005, he has been the movie-listings editor at the magazine; he writes film reviews and a blog about movies. He is the author of the book “Everything Is Cinema: The Working Life of Jean-Luc Godard” and is at work on a book about the lasting influence of the French New Wave.
A Discussion of the Best Movies of the Year So Far
New films of extraordinary artistry are being pushed to the margins of the industry.
“Dalíland,” Reviewed: A Glorious Carnival, at Least for an Hour or So
Ben Kingsley endows the painter with majestic self-absorption and twinkling delight.
The Rapturous Romance and Desperate Tragedy of Elaine May’s “A New Leaf”
The actor-director’s feature début is among the greatest of romantic comedies.
Shia LaBeouf Discovers the Political Power of Catholic Ecstasy in “Padre Pio”
Abel Ferrara’s Italian period piece is scattershot but undeniably passionate.
A New Way to Hear Some Revelatory Charlie Parker Bootlegs
“Bird in L.A.,” now available on streaming, features Parker’s audacious artistry in a wide range of live settings.
“The Little Mermaid” Has a Stellar Lead Performance and Something of an Inner Life
The new film is less charming but more substantial than the 1989 original.
Paul Schrader’s “Master Gardener” Is a Movie Divided Against Itself
It may appear to be a political drama or a redemption arc, but it’s really an erotic thriller.
An Intimate, Lived-In Début Feature from Cambodia
Kavich Neang’s “White Building” dramatizes private lives and public conflicts in contemporary Phnom Penh.
A Few Thoughts on Quentin Tarantino’s Plan to Retire
The director has said that his tenth film will be his last. What does this mean for his cinematic legacy?
“BlackBerry,” Like the BlackBerry, Never Reaches Its Potential
The business drama has documentary-like enticements but remains a stranger to its characters.
Summer Movies Preview
Wes Anderson’s “Asteroid City,” Greta Gerwig’s “Barbie,” Carlos Saldanha’s “Harold and the Purple Crayon,” and more.
“Guardians of the Galaxy Vol. 3,” Reviewed: Who’s Restraining Whom?
The third installment of James Gunn’s franchise has little vision or visual interest.
Catching Up to a Great Film That I Waited Decades to See
After the viewing of Jerzy Skolimowski’s “Walkover,” I felt the sting of other rare masterpieces that should be part of cinematic history.
“The Eight Mountains” Is Not a Movie So Much as a Series of Postcards
The story of a lifelong friendship between two men is pretty and vacant.
“Big George Foreman” Is Half a Terrific Boxing Bio-Pic
There’s a tense and turbulent charm to the movie’s depiction of young George’s childhood and rise to fame.
The Greatest Independent Films of the Twentieth Century
A counter-canon of masterworks by filmmakers who took control of the means of production.
In Praise of the Long Movie
In the right hands, a three-hour-plus film expands the boundaries of cinematic possibilities.
“Beau Is Afraid,” Reviewed: Mommy Is to Blame, but Can Someone Tell Us Why?
Ari Aster’s latest has a mother complex and a sense of spectacle but no inner life.
Ahmad Jamal, a Modest Colossus of Jazz
The pianist and composer’s ideas had a decisive effect on the history of an art form.
“Renfield,” Reviewed: A Concept in Search of a Movie
The vampire comedy is bouncy, clever, fun, and extremely bloody, but dramatically inert.
A Discussion of the Best Movies of the Year So Far
New films of extraordinary artistry are being pushed to the margins of the industry.
“Dalíland,” Reviewed: A Glorious Carnival, at Least for an Hour or So
Ben Kingsley endows the painter with majestic self-absorption and twinkling delight.
The Rapturous Romance and Desperate Tragedy of Elaine May’s “A New Leaf”
The actor-director’s feature début is among the greatest of romantic comedies.
Shia LaBeouf Discovers the Political Power of Catholic Ecstasy in “Padre Pio”
Abel Ferrara’s Italian period piece is scattershot but undeniably passionate.
A New Way to Hear Some Revelatory Charlie Parker Bootlegs
“Bird in L.A.,” now available on streaming, features Parker’s audacious artistry in a wide range of live settings.
“The Little Mermaid” Has a Stellar Lead Performance and Something of an Inner Life
The new film is less charming but more substantial than the 1989 original.
Paul Schrader’s “Master Gardener” Is a Movie Divided Against Itself
It may appear to be a political drama or a redemption arc, but it’s really an erotic thriller.
An Intimate, Lived-In Début Feature from Cambodia
Kavich Neang’s “White Building” dramatizes private lives and public conflicts in contemporary Phnom Penh.
A Few Thoughts on Quentin Tarantino’s Plan to Retire
The director has said that his tenth film will be his last. What does this mean for his cinematic legacy?
“BlackBerry,” Like the BlackBerry, Never Reaches Its Potential
The business drama has documentary-like enticements but remains a stranger to its characters.
Summer Movies Preview
Wes Anderson’s “Asteroid City,” Greta Gerwig’s “Barbie,” Carlos Saldanha’s “Harold and the Purple Crayon,” and more.
“Guardians of the Galaxy Vol. 3,” Reviewed: Who’s Restraining Whom?
The third installment of James Gunn’s franchise has little vision or visual interest.
Catching Up to a Great Film That I Waited Decades to See
After the viewing of Jerzy Skolimowski’s “Walkover,” I felt the sting of other rare masterpieces that should be part of cinematic history.
“The Eight Mountains” Is Not a Movie So Much as a Series of Postcards
The story of a lifelong friendship between two men is pretty and vacant.
“Big George Foreman” Is Half a Terrific Boxing Bio-Pic
There’s a tense and turbulent charm to the movie’s depiction of young George’s childhood and rise to fame.
The Greatest Independent Films of the Twentieth Century
A counter-canon of masterworks by filmmakers who took control of the means of production.
In Praise of the Long Movie
In the right hands, a three-hour-plus film expands the boundaries of cinematic possibilities.
“Beau Is Afraid,” Reviewed: Mommy Is to Blame, but Can Someone Tell Us Why?
Ari Aster’s latest has a mother complex and a sense of spectacle but no inner life.
Ahmad Jamal, a Modest Colossus of Jazz
The pianist and composer’s ideas had a decisive effect on the history of an art form.
“Renfield,” Reviewed: A Concept in Search of a Movie
The vampire comedy is bouncy, clever, fun, and extremely bloody, but dramatically inert.