The Front Row
Richard Brody offers notes on blockbuster movies, independent films, and documentaries.
“Val,” Reviewed: A Val Kilmer Documentary Reveals Thwarted Hollywood Dreams
The actor, whose voice is impaired, reflects on the art of acting and evokes his own cinematic counterlife.
By Richard BrodyJuly 28, 2021
Roy Brooks’s “Understanding,” a Crucial Jazz Rediscovery in Sound and Sense
The first release of the drummer’s 1970 quintet recording displays the era’s key musical and political influences.
By Richard BrodyJuly 26, 2021
“Old,” Reviewed: M. Night Shyamalan’s New Old-School Sci-Fi Movie
With spare methods and sharp images, the director turns a simple premise into potent fantasy.
By Richard BrodyJuly 22, 2021
Review: “Space Jam 2,” “Roadrunner,” and the Misplaced Hand-Wringing Over Digital Manipulations
Two new movies dramatize the power and the peril of the new audiovisual mediaverse.
By Richard BrodyJuly 20, 2021
“Pig,” Reviewed: Nicolas Cage Is the Only Reason to Watch
As a mournful, weary hermit in search of his kidnapped truffle pig, the actor bypasses the movie’s mediocre ideas to create some extraordinary moments.
By Richard BrodyJuly 17, 2021
“No Ordinary Man,” Reviewed: Portrait of an Artist Enduring Transphobia After His Death
The filmmakers Aisling Chin-Yee and Chase Joynt challenge the public record about Billy Tipton, a trans jazz musician who died in 1989.
By Richard BrodyJuly 16, 2021
“Casanova, Last Love,” Reviewed: A Historical Drama Evokes Modern Injustices
Stacy Martin stars as a woman who, in defying the infamous seducer, lays bare an oppressive social order.
By Richard BrodyJuly 14, 2021
“The Woman Who Ran,” Reviewed: A Provocative, Profound Drama of Marriage, Friendship, and Solitude
Hong Sang-soo’s film relies on disturbing ironies to approach the mightiest of subjects: the nature of happiness.
By Richard BrodyJuly 8, 2021
“Scarface” Startles Anew on the Criterion Channel
It’s time to watch Howard Hawks’s gangster masterpiece again.
By Richard BrodyJuly 6, 2021
“No Sudden Move,” Reviewed: Steven Soderbergh’s New Crime Drama Is a Brisk Nostalgia Trip
The film, set in 1954 Detroit, involves corporate espionage and racial politics, but does so superficially.
By Richard BrodyJuly 1, 2021
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