Richard Brody
@tnyfrontrow
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I am the movies editor for Goings On About Town and the author of “Everything Is Cinema: The Working Life of Jean-Luc Godard.”
New York, New York
Joined March 2009
Grey Gardens, the great musical documentary by the Maysles brothers, Ellen Hovde, and Muffie Meyer, at @MovingImageNYC at 5:30pm—with a Q. & A . w/Meyer and co-editor/producer Susan Froemke! https://t.co/3tDnrhXKWK
newyorker.com
What came to the fore when watching the documentary in recent years was the horrific waste of exhilarating artistic talent.
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4. Phoenician Scheme 9. OBAA Both performances great in different registers; the stylized performances that Wes A. elicits are, wrongly, hardly ever esteemed as highly as showy effort elsewhere.
Whatever happened with The Phoenician Scheme? I’ve hardly seen anyone talking about it. Did Benicio del Toro eat his own lunch with One Battle After Another?
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This sounds good—oral history on location: Chantal A, Bruxelles, by Vincent Dieutre, filmmaker and critic; it's on TV in France, I hope it finds its way here at some point (so many good French films don't): https://t.co/zkwBtn97B3
lesinrocks.com
VIncent Dieutre (“Rome désolé”, “Mon voyage d'hiver”, “Jaurès”...), auteur d'un cinéma documentaire autobiographique produit avec des bouts de ficelle, est de retour sur Ciné+ Festival grâce à un...
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Didn't address, in a capsule review, the trivializing and even romanticizing view of mental illness built into the character and the performance, but the character is nonetheless the point:
This tweet is a safe space for anybody who needs to discuss Spike Fearn’s character, performance, and/or subplot with Ayo Edebiri from Ella McCay. There’s gotta be at least 5 people in the world who have things they need to say — good, bad, or ugly lol.
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newyorker.com
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Missed out on these today at @Metrograph, but they're back tomorrow: Dreyer's comedic but bitterly ironic Master of the House (1925) at 12:30pm, Whit Stillman's comedic but bitterly earnest Metropolitan, at 8:20pm (a capacious film about which there's much more to say)...:
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Short word from next week's Goings On about Ella McCay (scroll down): in general, as with coffee, a good bad movie is better than a bad good movie, and Ella McCay is the former; despite its forced and flailing tone and just-so construction, it has an idea: https://t.co/Q8YFS94cyb
newyorker.com
Also: Murray Hill’s holiday variety show, Kara Young and Nicholas Braun in “Gruesome Playground Injuries,” James L. Brooks’s anti-romantic comedy “Ella McCay,” and more.
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The Lord's slayer: on the greatness of Josh O'Connor and John Dickson Carr, Benoit Blanc and Dr. Fell, and the many delights of Rian Johnson's mass-murder mystery, WAKE UP DEAD MAN.
newyorker.com
In Rian Johnson’s latest whodunnit, Josh O’Connor plays a Catholic priest trying to restore moral order at a church befouled by murder.
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Footnote to the historical side of the Warner Bros. tussle, re: the fabulous fifties: mentioned Allan Dwan's Silver Lode and The River's Edge: https://t.co/1yAhKjBJie
https://t.co/VQIbzE3Ib8
newyorker.com
Richard Brody on Allan Dwan"™s "The River"™s Edge" (1957).
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Dexter Gordon, 'Round Midnight
newyorker.com
The saxophonist Dexter Gordon has the role of a lifetime in Bertrand Tavernier’s 1986 drama of an American jazz icon in Paris.
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There's history behind the proposed acquisition of Warner Bros. by Netflix (and of WBD by Paramount Skydance), deals that would matter mightily for the art of movies and for much more: https://t.co/nDkIRqYt8X
newyorker.com
The competition between Netflix and Paramount Skydance to acquire the studio is haunted by the ghosts of mergers past.
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I think that the Mets are undergoing a soft rebuild, that Stearns is tacitly clearing the ground for building the team on his own model.
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"I don't want to have nostalgia, I prefer to be furious rather than nostalgic."—Leos Carax https://t.co/y55CWMhpJj
lemonde.fr
Le réalisateur de « Mauvais sang », des « Amants du Pont-Neuf » et d’« Annette » a reçu un prix d’honneur lors de la 50ᵉ édition du Laceno d’Oro, tout comme l’Espagnol Victor Erice.
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“A paranoid masterwork” Richard Brody writes of SUBURBAN FURY in his most recent review of the film for @NewYorker Read the rest of his review here🔗📰🔗: https://t.co/aKWdN54nE2
#fyc #awardsseason #academy
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this post just unintentionally reminded me that i still gotta see this film
Is The Holdovers the only genuinely great Christmas movie we have gotten in years? Feels like we almost never get great Christmas movies anymore.
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"It gets late early out there."
Noah Baumbach is too young to be making late period pictures.
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Jerry Lewis's The Bellboy ranks high on the list of great first features; it packs a concentrated dose of his democratic philosophy and his self-deprecating pathos, and it's got a new place of honor, on the @criterionchannl: https://t.co/4DFODSWjXe
https://t.co/yIrmnCGV7A
newyorker.com
Richard Brody on Jerry Lewis's "The Bellboy" (1960).
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Richard Linklater on filmmakers' careers: "Jacques Rozier, his great first film 'Adieu Philippine.' That’s such a great first film. It got delayed a year. Had that come out earlier… he only made five films, but those are great movies. Yet he’s not as well-known. I think a lot of
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Two extraordinary new documentaries, "Suburban Fury" (@alamodrafthouse) and "Put Your Soul on Your Hand and Walk" (@KinoLorber) and one classic, "Woo Who? May Wilson" (@OVIDtv and @Kanopy) expand and reflect on the form of portrait-films: https://t.co/ANhtiQsA9D
newyorker.com
Documentaries about individuals are ubiquitous, but “Suburban Fury” and “Put Your Soul on Your Hand and Walk” explore the filmmaker-subject relationship in ways that recall classics of the form.
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I meant, Da 5 Bloods, forgot that Netflix didn't do both.
The Irishman, Highest 2 Lowest, Passing, The Ballad of Buster Scruggs
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