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
Ingmar Bergman's passionate, rapturous Summer With Monika, fuelling young men with longing and fear for decades, at @BAMfilmBrooklyn at 7:.
newyorker.com
Richard Brody on Ingmar Bergman's "Summer with Monika" (1953).
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Caught Stealing is up there with Darren Aronofsky's best films—I found it both exciting and fascinating, and Austin Butler gives it great energy—yet it differs from them by rejecting psychology in favor of. .
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Bitcoin’s on fire at $112K! Time to flip the charts on BTCC!.Exploring Cryptocurrency with Jaren Jackson Jr.🏀.
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Because I've already paired Joan Crawford (Johnny Guitar) and Gena Rowlands (Opening Night), time to add two, one classic and one modern, with the other kind of mask:
What is the best female performance you've ever seen in a movie?
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I always thought this was 1. self-evident, and 2. the point. "The creator of some of cinema’s most memorable music says it pales in comparison to the great works" because movie music isn't meant to be the center of attention, the great works are meant to hold attention at length.
Composer John Williams says he ‘never liked film music very much’. Exclusive: The creator of some of cinema’s most memorable music says it pales in comparison to the great works.
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Joseph H. Lewis's supreme, extreme, frantic, and Freudian film noir Gun Crazy, tonight at @FilmForumNYC at 6, in 35mm.; words from a while ago, plus some history after the fact:
newyorker.com
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One of the greatest films, Shirley Clarke's Portrait of Jason—an interrogation,a celebration, a revelation, a devastation—screens tonight at 7 in 35mm. @IFCCenter introduced by Maya Cade, who'll be keeping things going at Milestone:.
newyorker.com
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Too many stars and the wrong Murphy.
Philip Seymour Hoffman? Daniel Day-Lewis? Cate Blanchett? Denzel Washington?. The Ringer has ranked the 101 best movie performances of the 21st century. Where do your favorites land?
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Reminded while thinking about 1925: Irving Thalberg is my personal enemy, individually responsible for a system that harmed, frustrated, and inhibited its greatest artists; there's nothing mediocre he can't improve, nothing good he can't dilute.
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What The New Yorker was watching, and what its film critics were reviewing, in 1925, its first year: .
newyorker.com
The first year of the magazine’s movie writing included proto-auteurist criticism, gossip, and a large dose of Charlie Chaplin.
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A movie: Carnival of Souls.
What are the best books, essays, poems, that deal with ghosts philosophically, or advance a theory of ghosts beyond the usual fuddy superstition and tropes? (and no hauntology please, not that I’m against it) I’m looking for something really against the known grain.
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Because it's on early tomorrow, a reminder now: Richard Brooks's The Happy Ending, from 1969, starring Jean Simmons, is one of the more spectacularly audacious Hollywood reckonings (and self-reckonings) of the Nixon era; on @tcm at 11:15a.m. (and also widely streaming):. .
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BIG NEWS, Dragon Ball Fans!.Pre-register now and join Goku on day one!.Get exclusive launch rewards and rare items.Will you be the first to experience it?.
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Not only did Fassbinder die young, but his films were mainly set in Germany and had documentary and historical value; Wenders and Herzog decided, early on, (mostly) not to make movies about Germany.
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It's because Fassbinder died young.
It's kind of crazy how below its weight Germany punches culturally. They're big in the EDM scene and nowhere else. Like they've made exactly 3 influential movies since 2000: the one that won an Oscar, Toni Erdmann, and the one that's like a less good version of Monster.
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In 2011, when World on a Wire got its U.S. première, it was a shock— exotically different from the rest of Fassbinder's career; the 27-year-old's virtuosity, shooting it on a shoestring, on location, is astonishing; 11 a.m. at @ParisTheaterNYC in 35mm.; a few words from then:. .
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As a viewer, I'm spoiler-averse; as a critic, I try to avoid saying what I wouldn't want to have known before viewing, but it's not a problem: there's so much more to a movie than the story, so much more to write about than a complete synopsis.
Re: the "state of film criticism" conversation from the other day I think one silly but genuine problem is spoiler aversion; nobody wants to read substantive criticism of films they haven't seen. I am also generally like this so I don't have a solution but I think it's an issue.
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