“The Intern” Is a Very Strange Workplace Fantasy
By Richard Brody
In “The Intern,” Nancy Meyers sketches a hard-edged portrait of a heroine of the times as well as a softball fantasy of the moment.
The Blinding Cinematic Whiteness of “Black Mass”
By Richard Brody
Even embraced by the gestalt of their little world, Whitey Bulger and his gangsters appear not merely as immoral monsters but as virtual aliens.
A Hidden Hero of Jazz
By Richard Brody
Mary Lou Williams’s musical career was one that, in its very historicity, went to the forefront of modernity.
Charlie Chaplin's Scandalous Life and Boundless Artistry
By Richard Brody
“The Charlie Chaplin Archives” is an apt tribute to the filmmaker, whose artistry transcends the cinema and spans world-historical dimensions.
Movie of the Week: “An Oversimplification of Her Beauty”
By Richard Brody
Richard Brody discusses the sumptuous 2012 film by Terence Nance, the young filmmaker’s first (and, to date, only) feature.
Rosh Hashanah with Miles Davis
By Richard Brody
I had tickets to Davis’s concert in Central Park, but my parents, High Holiday Jews, insisted that I had to attend synagogue.
The Sanitized Christianity of “War Room”
By Richard Brody
“War Room,” the Christian-inspirational drama that was the No. 1 box-office hit of the Labor Day weekend, takes the metaphor of its title literally.
The Best Cinema Goes Beyond Mere Storytelling
By Richard Brody
In the future, Alex Ross Perry’s “Queen of Earth” will serve as an example of the most effective sort of complex modernism.
Where Wim Wenders Went Wrong
By Richard Brody
Wenders’s career is marked by a break that occurred between 1975 and 1977, between the films “Kings of the Road” and “The American Friend.”
Movie of the Week: “You and Me”
By Richard Brody
Fritz Lang’s “You and Me” evokes the political context and the subjective energy of the criminal realm.