by Josh Sewell
Director Brady Corbet swings for the cinematic fences with his latest effort, which attempts – successfully, for the most part – to evoke American epics of yesteryear. The Brutalist, which Corbet co-wrote with his partner Mona Fastvold, chronicles the pursuit of the American Dream in post-World War II America, with all the triumphs and betrayals involved with that unreliable quest.
It’s clear the filmmaker was influenced by all-time classics like The Godfather and recent works like Paul Thomas Anderson’s There Will Be Blood and The Master. However, Corbet has plenty of his own themes to investigate with this methodically paced, 215-minute exploration of the fascinating, often venomous connections between art and capitalism. (Thankfully, for those with small bladders, that includes a well-timed intermission.)
For such a rich, complex tale, the premise is relatively straightforward. Jewish architect László Toth (Adrien Brody) miraculously escapes the Holocaust and arrives in America to rebuild his life after the war. Aiming to establish a modicum of financial stability so he can send for his wife Erzsébet (Felicity Jones) and niece Zsófia (Raffey Cassidy), who he was forced to leave behind, he settles in Pennsylvania where he finds a job shoveling coal.
Eventually, word of László’s previous reputation spreads, which is how he gains the attention of prominent industrialist Harrison Lee Van Buren (Guy Pearce). The wealthy businessman recognizes his talent for building and hires him for an ambitious project, even promising to pull the strings necessary to reunite him with his family. However, he learns that success and power in America come at a heavy cost.
The Brutalist is already well-respected with critics and film bros. It’s also an Oscar frontrunner, with a host of nominations all but guaranteed. However, the average moviegoer might not even know it exists because until this week it was only playing in a handful of theaters in New York and Los Angeles.
In our area, it opens in a host of Atlanta theaters but look for it to expand in the coming weeks, especially once Academy Award nominations are announced next week (pending further delays due to the devastating L.A. fires). So, is the film worth all that hype? That depends on what you’re expecting from the moviegoing experience.
From my perspective, The Brutalist isn’t a perfect film. While the first half comes pretty darn close, the second half has some tonal issues, spotty characterization – particularly when it comes to Jones’ role – and more than a few mixed metaphors. Still, the final scene packs a surprisingly emotional wallop and those who complain “they don’t make ’em like they used to” can’t use that excuse to avoid buying a ticket to this one.
Regardless, it would be ridiculous of me to complain that the film is “merely” outstanding rather than the dawn of cinema’s new age. This isn’t the first time that crazy hype set expectations for a movie impossibly high, and I can promise it won’t be the last.
None of that is the fault of Corbet, Fastvold or The Brutalist itself. In fact, the cast and crew play a huge role in making this film with a tiny budget feel like an epic Hollywood blockbuster. Brody has worked steadily since his Best Actor win for The Pianist back in 2002, appearing in a lot of terrific movies (and some not-so-great ones), but his performance here is easily one of the best in an extensive career.
László is a fascinating, complex character, but a man with many flaws who isn’t always easy to like. Still, Brody makes him such a charismatic presence – one who appears in practically every scene – that it’s impossible not to root for his success.
Jones is also solid, but her character’s arc in the story is more muddled. Because she doesn’t appear until the film’s second half, viewers aren’t afforded the same opportunity to get to know Erzsébet before she dramatically upends László’s new life in America.
Pearce, on the other hand, is flat-out incredible. He has the showiest role, which affords him numerous opportunities to chew the scenery. Although ultimately a poisonous character, Van Buren is the main source of the film’s occasional comedic moments.
Unfortunately, the character is also where most of Corbet’s confusing metaphors reside. Because he represents America, which eventually betrays its cherished ideals in the years after WWII, Van Buren also performs a shocking violation in a divisive scene where the metaphorical becomes literal.
Although flawed, The Brutalist is ultimately ambitious and creative enough that it’s a stunning viewing experience I recommend to anyone with the patience and attention span to endure its marathon running time. There’s a reason it was my #5 film of 2024. See it on the biggest screen you can.
The Brutalist is rated R for strong sexual content, graphic nudity, rape, drug use and some language. Opens in select theaters on January 17 and expands in the coming weeks.
Grade: A-
It’s clear the filmmaker was influenced by all-time classics like The Godfather and recent works like Paul Thomas Anderson’s There Will Be Blood and The Master. However, Corbet has plenty of his own themes to investigate with this methodically paced, 215-minute exploration of the fascinating, often venomous connections between art and capitalism. (Thankfully, for those with small bladders, that includes a well-timed intermission.)
For such a rich, complex tale, the premise is relatively straightforward. Jewish architect László Toth (Adrien Brody) miraculously escapes the Holocaust and arrives in America to rebuild his life after the war. Aiming to establish a modicum of financial stability so he can send for his wife Erzsébet (Felicity Jones) and niece Zsófia (Raffey Cassidy), who he was forced to leave behind, he settles in Pennsylvania where he finds a job shoveling coal.
Eventually, word of László’s previous reputation spreads, which is how he gains the attention of prominent industrialist Harrison Lee Van Buren (Guy Pearce). The wealthy businessman recognizes his talent for building and hires him for an ambitious project, even promising to pull the strings necessary to reunite him with his family. However, he learns that success and power in America come at a heavy cost.
The Brutalist is already well-respected with critics and film bros. It’s also an Oscar frontrunner, with a host of nominations all but guaranteed. However, the average moviegoer might not even know it exists because until this week it was only playing in a handful of theaters in New York and Los Angeles.
In our area, it opens in a host of Atlanta theaters but look for it to expand in the coming weeks, especially once Academy Award nominations are announced next week (pending further delays due to the devastating L.A. fires). So, is the film worth all that hype? That depends on what you’re expecting from the moviegoing experience.
From my perspective, The Brutalist isn’t a perfect film. While the first half comes pretty darn close, the second half has some tonal issues, spotty characterization – particularly when it comes to Jones’ role – and more than a few mixed metaphors. Still, the final scene packs a surprisingly emotional wallop and those who complain “they don’t make ’em like they used to” can’t use that excuse to avoid buying a ticket to this one.
Regardless, it would be ridiculous of me to complain that the film is “merely” outstanding rather than the dawn of cinema’s new age. This isn’t the first time that crazy hype set expectations for a movie impossibly high, and I can promise it won’t be the last.
None of that is the fault of Corbet, Fastvold or The Brutalist itself. In fact, the cast and crew play a huge role in making this film with a tiny budget feel like an epic Hollywood blockbuster. Brody has worked steadily since his Best Actor win for The Pianist back in 2002, appearing in a lot of terrific movies (and some not-so-great ones), but his performance here is easily one of the best in an extensive career.
László is a fascinating, complex character, but a man with many flaws who isn’t always easy to like. Still, Brody makes him such a charismatic presence – one who appears in practically every scene – that it’s impossible not to root for his success.
Jones is also solid, but her character’s arc in the story is more muddled. Because she doesn’t appear until the film’s second half, viewers aren’t afforded the same opportunity to get to know Erzsébet before she dramatically upends László’s new life in America.
Pearce, on the other hand, is flat-out incredible. He has the showiest role, which affords him numerous opportunities to chew the scenery. Although ultimately a poisonous character, Van Buren is the main source of the film’s occasional comedic moments.
Unfortunately, the character is also where most of Corbet’s confusing metaphors reside. Because he represents America, which eventually betrays its cherished ideals in the years after WWII, Van Buren also performs a shocking violation in a divisive scene where the metaphorical becomes literal.
Although flawed, The Brutalist is ultimately ambitious and creative enough that it’s a stunning viewing experience I recommend to anyone with the patience and attention span to endure its marathon running time. There’s a reason it was my #5 film of 2024. See it on the biggest screen you can.
The Brutalist is rated R for strong sexual content, graphic nudity, rape, drug use and some language. Opens in select theaters on January 17 and expands in the coming weeks.
Grade: A-
Reach out to Josh Sewell at joshsewell81@gmail.com
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