User reviews

Rating - 9.1: Overall, a great epic that both pays homage to the time period and revolutionizes how we can tell stories, as it shows what can be done with such a low budget, all brought together by great filmmaking, profound writing, and an incredible performance from Adrien Brody.

Direction - Great: The direction on a macroscale is grand as this movie feels like an epic that emulates films from the time period it portrays; the direction on a microscale is great as the interpersonal scenes really paint who these characters are and the struggles they go through; the storytelling is great, it tackles many serious topics in an artsy way, and the movie really does feel like a modern-day Godfather with how they told this epic; they build tension incredibly well as you genuinely experience second-hand trauma from what you see these characters experience

Story - Great: The concept is amazing, as the movie is an epic that displays the hardships of trying to live the 'American Dream', as we see through the lens of troubled László Toth; the plot structure is very good, as it emulates epics that were popular from the time-period the movie takes place in; the character writing is amazing, as László Toth has many dimensions to him, especially with all that he experiences as he goes through this movie, and the supporting cast really does have many dimensions to them as well

Screenplay - Great: The dialogue is polished and profound; the symbolism is incredibly profound as the movie tackles many hard topics like addiction, trauma, and the immigrant experience to show the protagonist's shell-shocked experience of trying to live the 'American Dream'; the foreshadowing is great as it is used well in conjunction with tension to build a captivating climax

Acting - Very Good: Adrien Brody - Incredible (Feels like an extension of his performance from "The Pianist" as he accurately and profoundly displays the trauma and addictions this character goes through as he tries to navigate his "American Dream"), Felicity Jones - Very Good (A powerful performance, as you can tell the hardships she has to go through to come to America; she has amazing chemistry with Brody), Guy Pearce - Great (A truly commanding figure as you always feel a sense of uneasiness around him; he has good chemistry with Brody as their dynamic makes you feel very invested in both characters), Joe Alwyn - Good (The typical spoiled, rich son does a good job supporting the rest of the cast), Isaach de Bankolé - Pretty Good (Has good chemistry with each other as both do a good job trying to display the hardships of trying to experience the 'American Dream'), Alessandro Nivola - Good (Does a good job showing how his character is able to code-switch and assimilate with American culture as he seamlessly transitions from his past and present when interacting with Brody), Rest of the cast - Pretty Good to Good (Everyone does their job as everyone feels experienced in trying to progress the movie forward; the cast has very good chemistry)

Score - Great: Paints this movie as an epic and is used well to establish the tone of the movie

Cinematography - Great: Paints this movie as an epic as it makes this movie feel like an art piece with how grand it is; does so much with both film and a low budget; the imagery for the movie really does feel amazing

Editing - Great: Really makes this movie feel like an art piece as it is seamless and used well in conjunction with the direction and cinematography

Sound - Good: It gives the movie a 1960s feel; it helps build tension

Production Design - Good: It helps in portraying the time period and the world László Toth deals with

Costumes - Good: Helps portray the time period

Pacing - Pacing is good as it adequately goes through the 3.5-hour runtime to create this grand epic

Climax - Climax is executed incredibly as the final 40 minutes before the epilogue really feel captivating in a traumatizing way; the epilogue is fine, but does not really feel like it ends the movie as strong as the second part

Tone - Tone is traditional to epics from the time period, and at some moments the style feels like a modern-day Godfather

Final Notes - I saw a premiere at the Austin Film Festival in 35mm film; it does so much with such a small budget; I have never been so impacted by a movie emotionally as I have been with this movie.

This ambitious post-war American epic begins with a mesmerising long-take sequence which will surely stick longer than the 3:35 hours of running time. The 70mm format fits the setting while making the movie visually stunning alongside with audacious camera works and stunning photography. Blumberg's music adds on that so the theatre would definitely be its perfect habitat. The script delivers interesting characters - albeit the secondary ones are purely cosmetic - valorised by great performances from Brody and Pearce. The issue here is in the last hour, as the writers decided to insert unexplored subplots which will prevent the movie from having a proper conclusion thus leaving a bitter feeling of incompleteness and preventing this monumental project to achieve what was intended for.

The Brutalist is full of surprises. The characters are not who you expect - not in the Scooby Doo ending kinda way, but in the more subtle, incremental ways that real people reveal themselves - they unfurl over time, in new context, or when forced by circumstance.

Here the circumstance is post-WWII-horror. Adrien Brody's Laszlo, a jewish architect who escaped the clutches of bloody Europe, ekes into the welcoming arms of America - or is confronted by them - in a frenetic opening sequence that evokes being literally birthed by the Statue of Liberty. His becomes a journey of perpetually navigating life's variety of horrors: existential, professional, familial, intimate - never taking his eyes off the prize of grand achievement, and never assessing the value of that prize to begin with. What's the lesson?

Is it the shameful discovery that his success wasn't born in spite of his trauma, but because of it? Do we owe a debt to abuse? To the forces of culture, country, power and those who wield it, in the building of our brutal legacies (and homelands)? Are our lives gasoline that gets burned up en route to some place more meaningful?

The movie is charming, cool looking, and not boring (did you hear it was long?). It feels like it's based on an old novel - a mysterious tome that I would love to mine for some of the details the movie refuses to share. But there is no novel. This aging Man's search for meaning becomes ours as well. And any greater understanding of Laszlo's arrival, his families' machinations, his country and rootlessness, or the evolution of his very feelings on the subjects, for better or worse, feels up to us to construct.

It is ambitious and has some beautiful sequences, especially the opening sequence with the Statue of Liberty shot. Brody, as usual, is strong. The score is also strong. The movie has an epic sweep to it but also, I would say, some unnecessary scenes here and there. I didn't think all the sex scenes were necessary, or at least I thought they were too drawn out, and various other interstitial shots that felt excessive. I didn't like Pearce's performance so much. Although he's playing an unlikable character, true, there's just an artificiality about his delivery and mannerisms that I didn't like here.

The epilogue of the movie ends a little flat and on an odd note. It's just one of those "weird" endings, imo, but that's pretty typical for an a24 movie. I cared about Brody's character, but where did he REALLY go, in the end? Ask yourself that. He gets lost a bit, for me, with all the other side narratives and architectural explorations going on, and then it just kind of ends.

Thematically, the movie reflects the tension between artistry and capitalism well. Is it overlong? Yes, but the intermission dampens the impact of that. Would I want to see it again? No.

I saw this movie in Venice almost by accident, going to the preview of the film that would win the Silver Lion for Best Direction - before that award had been handed out. And how glad I was it turned out to be "The Brutalist".

That movie is a mesmerizing immersion in a sick slice of old Americana that could only be described as a sweet nightmare; a twisted insight into minds messed up by war-related trauma or wealth; a semi-, low-key apocalyptic stroll into the Holocaust and its fallout, the immigrant experience, anti-Semitism, and brutalist architecture; and so much more. "The Brutalist" is an unrelenting, grinding 3.5 hour chamber epic that will stay with me for a very long time. Coming out of the auditorium on the Lido I was breathless, speechless, sad but also glad I had seen that film. And to think they gave the Golden Lion to Almodovar's "The Room Next Door", which by comparison feels like a made-for-television snoozer.

Adrian Brody has rarely been so convincing and touching; if you thought "The Pianist" was his masterpiece, think again. "The Brutalist" features what must be the most touching masturbation scene I have ever seen (yes, it is that kind of film), as well as the most unexpected and shocking rape scene I have ever seen (yes, it is that kind of film). You never know what to expect with "The Brutalist". Guy Pearce is also excellent, in one of the most repulsive characters in recent memory. Both actors have already been seen in rather similar roles, but never quite with the same quiet intensity and force. Compared to this "There Will be Blood" feels like a mainstream, family-friendly, Saturday matinee picture.

Just make sure you see it on as big a screen as possible (the film was shot using the old VistaVision format), with the intermission. Everything was done to make sure the film would feel like an old-fashioned 1950s/1960s epic drama - but without the censorship and with raw honesty, which makes all the difference. From its relentless, tortured, topsy turvy beginning the movie will seize you by the throat and never let go again. Welcome to America.

The Brutalist:

The Brutalist is a painting come to life on the screen. It's as if Vincent Van Gogh created this absolute masterpiece of direction. From the subtle but highly effective and powerful sound design and score. Not to mention the stunning cinematography, every frame bursting into life before your very eyes. I cannot speak highly enough of Brady Corbet and his vision here. This being an original script is truly a testament to how the film industry should be run.

The Brutalist is a grounded story that takes you to places emotionally that I was not prepared to go to. Such a deep and powerful story. I'm glad this film is 3 hours and 35 minutes long because it earns its right to take its time to tell the story. And this is 3 and half hours of pure a cinematic experience. I sat there for every scene in pure awe. This is how you make a film.

On to the acting. Adrien Brody teaches a masterclass in acting. It's all there for you to witness, the crying shouting scenes, the subtle moments and gestures, the looks in his eyes. So much range in one movie that I don't think I've seen a performance on this level in some time. Guy Pearce is totally stunning, terrifically terrifying at times. Felicity Jones comes into the story later than I imagined she would've but she can completely hold her head high, she's a true beauty to behold.

In short, The Brutalist is a 3 and a half hours spectacle that's earned its place in the world of cinema and then some. Brady Corbet is a visionary genius, and I look forward to seeing many more of his projects.

The Brutalist = 9.8/10.

Stark and daring, "Brutalism" was a name given to a style of modern architecture that flourished in the '50s and '60s. Its sharp angles were formed of humble materials like rebar and concrete. Light and shadow danced dramatically across its sheer walls and through its bold windows.

In a sense, "The Brutalist" - nominated for numerous Golden Globes including Best Drama - is a work of architecture, too. If you can get past the title and its three-and-a-half hour runtime, it offers epic visions of immigrant aspirations and the American dream (pro and con) through a highly stylized lens.

Best Actor nominee Adrien Brody delivers a penetrating, fearless performance as László Toth, a brilliant Hungarian Jewish architect who survives the World War II carnage of his homeland and arrives at the feet of the Statue of Liberty hoping to begin anew.

Lady Liberty is upside down on the poster because that's the way she first appears to the immigrants emerging from the steerage holds of steamers.

László's odyssey leads to the boundless optimism of post-war Philadelphia. His wife Erzsébet (Felicity Jones, another Globe nominee), will follow several years later with their niece Zsófia (Raffey Cassidy). In the meantime, the celebrated creator in his own country is relegated to a menial existence in his new homeland. Eating in soup kitchens, sleeping in shelters, shoveling coal to eke out a living.

Crossing paths with ultra-wealthy businessman Harrison Lee Van Buren Sr. Will change both men's fates Guy Pierce earns the film's third Globe acting nomination with perhaps the best performance of his career. Urbane and handsome, the ultimate WASP patrician, Harrison's mellifluous voice and carefully chosen words mark a striking contrast with László's still awkward foreignness.

Although their first encounter is disastrous, Van Buren soon admits not only admiration but envy of the immigrant's genius, enlisting him to create a monumental cultural center and memorial to his late mother.

The project will link them for years, as the monolithic structure slowly rise atop a hill on the Van Buren estate. Theirs is a union of opposites, each man possessing a strong will and indomitable ego. Their relationship, and their families' as well, evolves from master and hired help, through the bonds of collaborators to the intimacy of brothers ... and then back again.

Director/co-writer Brady Corbet seems to share his characters' grand confidence in their own abilities. At age 36, his evolution from actor to A-list filmmaker invites comparisons to a young Orson Welles' arrival in Hollywood with the groundbreaking "Citizen Kane." Considering that "The Brutalist" budget was under $10 million, its sheer scale and scope, not to mention its singular sense of style, are jaw-dropping miracles. Along with Lol Crawley's dazzling cinematography, Brady works historical and industrial footage of the era into the production design.

The film's soundtrack is also a work of art in its own right. It features perfectly curated songs in its montage of historical radio broadcast, advertisements and ambient noises.

Meditating on the price - and rewards - of genius, at an even deeper level "The Brutalist" shows the price of assimilation.

No matter what shred of success or security László and Erzsébet might achieve, they can never shed the timid insecurity of knowing they will forever be outsiders.

Van Buren and his grown children, in contrast, ooze smug, sanctimonious privilege. Their tolerance of people like the Toths is never far removed from what they can get from them. Under his impeccable demeanor, Harrison Van Buren will eventually give new meaning to the film's title.

Indeed, there are many forms of brutality masked by the dazzling visual sheen. Some scenes, especially those involving sex, are almost impossible to watch. Brutalism isn't for the squeamish.

The film is fueled by Brody's incredible performance. As he did when he won the Oscar for "The Pianist" in 2003, the actor invests his soul in roles like this. No wonder that in between, he chooses the wry whimsy of being in lots of Wes Anderson comedies.

Even with an intermission for relief, "The Brutalist" is too long. Movies about architects may bring out godlike delusions.

But for mortals watching - some of us, at least - indulging the director is worth the hours it takes. Maybe it's because László Toth bears such a resemblance to a sepia-toned photo of my grandfather that his story strikes such a resonant personal chord.

In its self-effacing immigrant way, László's story is a touching, troubling and ultimately inspiring triumph.

A Hungarian-Jewish architect manages to narrowly escape to America from post-WWII Europe in the hopes of building a new life for his family. In his new country, his struggling career has some bumps and detours before he is taken under the wing of a watchful, prosperous industrialist in Pennsylvania, who admires his work and who ends up employing him to carry out part of his own vision.

Adrien Brody gives one of his best performances ever as Laszlo Toth, the hard-working and determined immigrant who hopes to start a new chapter and rebuild his legacy, both literally and figuratively. But it is Guy Pearce who nearly steals the film with a ferocious and charismatic performance as the blue-blooded tycoon who gives Toth's work as an architect a second chance. He shifts from sympathy to vindictiveness with ease. Brody's protagonist is not a paragon of virtue, to be sure. He wrestles with drug addiction, sometimes doesn't respect the chain of command, teeters on the brink of madness and even turns on some of his closest friends in moments of high stress. In the end, he is sympathetic but complex.

Director Brady Corbet provides a rich sense of historical context. The only criticism of the film is that it offers only a vague idea of what this pioneering architect did over the long term. Its focus is overwhelmingly on his first and most ambitious project for this mercurial employer and all the trouble that came with it. Nevertheless, it's one of the best epics in recent memory and enthusiastically recommended for the superb work all around.

In Brady Corbets 215 minute epic, only one word comes to mind; Stunning. The Brutalist looks stunning. The performances are stunning. The production is stunning. The SCORE is stunning. This is one miracle of a movie. One up until around the 200 minute mark I was convinced I was watching one of the greatest movies I've ever seen in my life. Until the ending. The ending didn't fully click with me. Not to say it's bad, but for how long we spend getting to learn these characters. It was rather quick? Nevertheless, The Brutalist is an unbelievable portrayal of immigrant struggle, and the dark side of the American Dream. Adrien Brody delivers personally my favorite performance of the year, and Guy Pearce will be eating every single supporting award up. He's unreal, along with Felicity Jones. The Brutalist is a movie that shouldn't exist, and yet it does.

It is stunning.

This movie is ambitious and has some big ideas, but ultimately too many big ideas that end up cancelling each other out. It's also very long. At the beginning of the film, I expected it to be a concentration camp survivor's story. And it is that, but it's also more complicated than that. The protagonist (played by Adrian Brody) is gradually revealed to have more layers to his personality than we thought. At first we see him as a refugee at the end of World War II doing grunt work in a relative's small furniture factory to survive, but then we realize that he has a brilliant and creative mind that functions on a much higher level than his worldly position would indicate. He's dependent on other people to survive. At first they appear to be kind benefactors, but then turn out to be really slimy individuals. If anything goes wrong, he's invariably blamed for it, and sent packing. He's given a bad time by virtually everyone. He realizes that, being an outsider, an undesirable foreigner, that he's at an extreme disadvantage. The kindness of strangers turns out to be not-so-kind, after all. But when his former prewar stardom in the field of architecture becomes known, suddenly those who despised him and treated him like garbage, start sucking up to him because they want the prestige of being associated with him. Then there is his sexual impotence, a nascent heroin addiction, and a wife trapped in Europe by the endless bureaucracy of the repatriation process. I don't feel that I could adequately give more details without spoilers.

This turns out to be like QUEER, in that it is highly episodic, and that the episodes do not neatly dovetail together. It's also like QUEER in that, rather puzzlingly, so many of the male characters can't seem to keep their hands off the Brody character, although he never reacts to it. This is a tough movie because there are a lot of good things about it, despite having a plot that simply doesn't hang together. Its biggest assets are the evocative art direction, photography, costumes, and the performances of Brody and the actress who plays his wife. (It's also true that they are given the best material; the other characters are right out of 19th Century melodrama-a sweet orphaned ingenue, a "friend" who leads good people into bad habits, and villains who do every dastardly deed but wear capes and twirl their mustaches.) On the whole, the movie seemed "undeveloped" to me. There's a lot of potential here that was simply unrealized.

Greetings again from the darkness. Too many view WWII as just another page in history books, when in fact, so much changed around the globe because of that war. Almost 80 years later, the war continues to provide stories for filmmakers, and when it comes to storytelling, few do it better than this latest from writer-director (actor-turned-filmmaker) Brady Corbet and his co-writer (and romantic partner) Mona Fastvold. The two had previously collaborated on THE CHILDHOOD OF A LEADER (2015) and VOX LUX (2018).

This is an old-fashioned epic on a grand scale with a few specific features that deserve to be highlighted. At 3 hours and 35 minutes in run time, Corbet included a throwback intermission (with a 15 minute countdown on screen). The opening credits run right-to-left horizontally, while the closing credits run diagonally. For true film geeks, the film is shot in VistaVision to capture the period feel. Part 1 covers 1947 through 1952, while Part 2 covers 1952 through 1960, and the Epilogue takes us to Venice in 1980.

Oscar winner Adrien Brody stars as Laszlo Toth, a Hungarian architect who arrives in post-WWII America after using heroin "for the pain" on the boat ride over. Due to administrative and governmental red tape, Laszlo had to go ahead of his wife and niece, to whom he writes regularly. A familiar face from home greets him upon his arrival. Attila (Alessandro Nivola, FACE/OFF, 1997) has already been Americanized to the point where he's married and running a custom furniture business. He offers Laszlo a room to sleep and a chance to help design furniture. When Harry Lee Van Buren (Joe Alwyn, THE FAVOURITE, 2018), the son of a wealthy Pennsylvanian tycoon, contracts for a re-design of dad's library, Laszlo gets a chance to show his brilliance. It turns out, Harrison Lee Van Buren Sr (Guy Pearce) does not like surprises and tosses the workers out.

Soon, a cooler head prevails for the tycoon, and he tracks down Laszlo for a project of much larger scale - a massive memorial on a hill overlooking the city. The project builds an odd connection between rich Harrison and brilliant Laszlo - although the rich guy remains anything but stable, and his son flaunts his own arrogant annoying tendencies (an Alwyn specialty). Laszlo maintains one true friendship. He bonds with Gordon (Isaach de Bankole) after meeting him in the food shelter line. Despite the new World, Laszlo continues to struggle with poverty; however, one of Van Buren's lawyers is amenable to assisting with the paperwork for bringing Laszlo's family to the states.

Part two brings wife Erzsebet (Felicity Jones, THE THEORY OF EVERYTHING, 2014) and mute niece Zsofia (Raffey Cassidy, THE KILLING OF A SACRED DEER, 2018) to America. Erzsebet is wheelchair bound after nearly starving to death due to the war. She's a smart woman married to a creative genius, and yet the land of opportunity continues to toss hurdles in their path (not the least being Laszlo's continued use of drugs). The moments of hope include a trip to the stunning Carrara quarry to locate the perfect piece for Van Buren's project.

It should be noted that, despite the lead character's name, this is a fictional account of the period, and the journey is both physically and emotionally draining. That's also true for viewers, as I was exhausted by the end. Corbet uses the Epilogue to take us to Venice in 1980 for the first Architectural Biennal. It's a fitting end after watching the battles of Jews versus Christians, and Immigrants versus American born, all while the United States is booming. I wasn't ever able to understand the message Corbet was sending by exaggerating footsteps throughout, but I do recognize that Cinematographer Lol Crawley and Production Designer Judy Becker worked some magic along with Corbet and Fastvold ... and yes, Adrien Brody, who along with Guy Pearce, deliver some of the finest acting we've seen all year. This is not a film so much about the brutalist style of architecture, but rather a film about character and personality during brutal times - and finding a way to utilize one's true talent, while also remaining true to one's roots. This is a complex story and one that fully captured me right from the unconventional opening credits.

Opens in limited theaters on December 20, 2024 and wide in January 2025.

I saw this at the movie theatre today and though the cinematography is impeccable as it was shot in Vistavision, I found that the story, not based on real fact, was once again about capitalism degrading immigrants that came to the United States after the war.

Brody and Jones do their best to carry out this unsatisfying saga, and Pearce does his honorable best to showcase a multimillionaire who takes advantage of a Hungarian architect, but the end result leaves us wondering why we spent three and a half hours in a theatre on a story that did not actually take place.

We are left with unfinished business, a large ugly cement construction behind a mansion in Pennsylvania, and not much else to pin our hopes on.

Does Brodey specialize in films such as "The Pianist" which revolve around holocaust tragedies?

I am sorry but I prefer " Conclave" over this ridiculously self-indulgent film, as it was more concise, and interesting, than this long diatribe that leaves us hopeless.

If it was based on fact, I might give it a different rating.

Brutalist architecture was ugly.

Despite its technical artistry, cinematography, and stellar performances, this film is a spiraling descent into depression. Unlike similarly bleak films like Blue Ruin or There Will Be Blood, which draw you in with tension and morbid curiosity, this plot leads nowhere. There's no payoff... just escalating disaster.

From the opening scenes, we follow one man's relentless suffering. Any initial empathy quickly evaporates when, mere minutes in, he's berating a prostitute at a brothel. His choices consistently dig him deeper into misery and subservience, accompanied by a "soundtrack" that could be described as a cat walking across the far end of a piano. Three hours of discordant notes matching his downward spiral.

What's particularly frustrating is the historical context. During an era of American prosperity and opportunity, this accomplished architect with significant works to his name chooses to live small. As an immigrant from a similar background, I find his self-defeating approach baffling. His eloquence, architectural mastery, and charisma suggest he could have carved out a very different path.

The film drowns in excess: gratuitous nudity, excessive shaky cam, overwhelming sadness, and random weirdness. If the first half dangles hope and potential, the second half plunges into absolute despair. It's relentlessly dark. A parade of gloom, doom, and ARCHITECTURE. Perhaps this reflects Laszlo Toth's character and work, but I left the theater in a thoroughly bitter mood.

That aside, Adrien Brody and Guy Pearce deliver phenomenal performances, but they can't salvage a film that seems designed to make its audience suffer. It's telling how often Oscar nominated films lean into the bizarrely unpleasant, as if misery were a prerequisite for recognition.

I have many thoughts about the oddness of The Brutalist, but I'd like to first mention one very strange mistake of language which the filmmakers made. It's a weird unforced error which should certainly have been caught, so I can only assume it was made on purpose - perhaps out of an impulse of sensitivity toward the less-fortunate. I don't know, but it certainly jumped out as jarring. Characters use the term "homeless" several times and later the term "bag lady" referencing people whom these days might be called "unhoused." But no one in the 1940s or 50s employed the words "homeless" or "bag lady." It didn't happen. Those are very modern terms and stood out as insanely anachronistic.

Clocking in just under four hour and channeling the vibe of 1970s epics, Brady Corbet's story of an architect struggling to realize a dream project is an instant classic

A terrific Adrien Brody anchors this three-and-a-half-hour American saga whose ambitions end up exceeding its grasp. Photo: Focus Features, Universal Pictures Imagine stumbling upon a dusty vault in Hollywood, uncovering lost reels of an epic cinematic project from the likes of Francis Ford Coppola or Bernardo Bertolucci. That is the kind of nostalgic, awe-inspiring essence that Brady Corbet has managed to capture in The Brutalist. The film, an ambitious and deeply human saga, feels like a time capsule of cinema's golden era, as if it belongs to the sprawling masterpieces of the 1970s. Clocking in at three and a half hours-complete with an overture and an intermission-this film demands its audience's time, attention, and emotional investment, but it rewards them richly for it.

The Brutalist is set against the backdrop of post-World War II America, following the journey of László Tóth, a Hungarian Jewish architect who has survived the horrors of Europe and escaped to the United States. Played with quiet intensity by Adrien Brody, László arrives in Pennsylvania to be taken in by his cousin Attila (Alessandro Nivola), who runs a modest furniture-making business with his wife. The story unfolds as László attempts to reclaim a sense of purpose by resurrecting his career in architecture, even as he struggles with the trauma of his past and the complexities of adapting to the American way of life.

Brody, in a career-best performance, captures both the vulnerability and resilience of László. He is a man marked by loss, haunted by his experiences, yet driven by an unyielding vision. The film portrays his initial attempts to assimilate, adjusting to a society that seems to reward conformity over authenticity. Attila, who has changed his name to sound more "American" and adopted an easier-to-digest identity, embodies the compromise of assimilation, a path László struggles to reconcile.

The turning point in László's journey comes with a commission to redesign the library of wealthy industrialist Harrison Lee Van Buren, portrayed with charisma and menace by Guy Pearce. This library, an unexpected opportunity for László, quickly becomes both a professional rebirth and a Faustian bargain. Harrison is unpredictable, cultured, and demanding-a figure who holds the power to make or break László's dream. The dynamic between Brody and Pearce is electric, a compelling dance of power, artistry, and control. Harrison's manipulative presence offers László a taste of artistic fulfillment but at a profound personal cost, eventually chaining him to a cycle of obligation and ambition.

Alessandro Nivola and Adrien Brody in 'The Brutalist.' Photo: Focus Features, Universal Pictures The visual language of The Brutalist is evocative of classic American epics, with its sweeping cinematography and lush production design. Shot in 35mm and shown in select festivals on 70mm film, the decision to use such formats adds to the vintage grandeur of the movie. Lol Crawley's cinematography captures both the vastness of America and the intimate, often claustrophobic inner world of László. The film's architecture, befitting its title, plays a central role, almost becoming a character in its own right-the buildings László designs are stark, pro-structuralist expressions of his tumultuous inner state.

This sense of artistic control is what defines The Brutalist as a deeply personal work for Brady Corbet. Corbet, along with co-writer Mona Fastvold, spent seven years crafting this story, and every moment on screen reflects the labor and love poured into it. His previous films, The Childhood of a Leader and Vox Lux, hinted at his ambition, but The Brutalist is a true leveling up. Here, Corbet doesn't just pay homage to his influences; he boldly asserts his own vision as a filmmaker with something profound to say about the American experience and the price of success.

The performances are uniformly outstanding. Alongside Brody, Felicity Jones delivers a nuanced portrayal as Erzsebét, László's wife, whose struggle to join her husband in America speaks to the painful dislocation experienced by many families in the post-war era. Raffey Cassidy as their young niece Zsófia brings heartbreaking vulnerability to the role, while Isaach De Bankolé stands out as Gordon, László's confidant who offers brief respites of warmth in an otherwise cold world. Alessandro Nivola, too, shines as Attila, whose journey of assimilation stands in stark contrast to László's fight to maintain his identity.

One of the most striking aspects of The Brutalist is how it depicts the immigrant experience. László's story is one of dislocation, alienation, and resilience-his dreams of architectural grandeur clash against the harsh realities of economic survival and societal pressures. His journey is emblematic of the broader struggle faced by countless immigrants who, despite their talents and ambitions, find themselves battling an unwelcoming system. The film does not shy away from the ugliness of this struggle, instead embracing its complexity with raw honesty.

The narrative spans three decades, following László's rise and eventual unraveling. The American Dream, as depicted here, is fraught with pitfalls-a beautiful illusion that, while attainable, exacts a heavy toll. Corbet's script does not indulge in easy sentimentality; rather, it confronts the sacrifices demanded by ambition and the moral compromises that often accompany success. There is a palpable sense of melancholy that permeates the film, an acknowledgment that even the most beautiful architectural creations cannot fill the void left by human loss and disconnection.

While The Brutalist may not be a perfect film, with some pacing issues and moments where its ambition slightly overreaches, these flaws are minor compared to the magnitude of what Corbet achieves. This is a film that dares to aim high, that refuses to conform to the increasingly narrow expectations of modern American cinema. Its ambition, its willingness to grapple with grand themes, and its sheer scale make it a standout achievement in contemporary filmmaking.

In its final moments, The Brutalist offers a coda that feels both inevitable and devastating. László's architectural achievements are recognized, but the cost of those achievements-to himself, to his loved ones-is laid bare. It is a sobering reminder of the sacrifices demanded by greatness, and the human wreckage that often lies in its wake. Corbet, Brody, and the entire cast and crew have created a work of art that feels monumental, a film that resonates long after the credits roll.

"When dogs get sick, they often bite the hand of those who fed them, until someone mercifully puts them down."

For the first time in forever the critics were right.

This movie shows the beauty of architect the story was superb and the acting was unforgettable definitely Oscar worthy it's going to win at least 4 and the best cinematography of the year and one of the best ww2 movies out there dose cinema justice.

Would 100% recommend if you get a chance to any this in theaters take it even if it's standard.

10/10

And that ending was perfect but part one was the best no doubt about that.

From Letterboxd.

Outstanding portrayal of an immigrants life and challenges. A strong, heartfelt performances across the board, cannot not be praised. Adrian Brody is a great actor, someone who hides behind a spotlight of Hollywood but has the ability to outshine any other actor out there. He is 100% in his movies and that is commendable. Loved the performance of Guy Peirce as well. Genuinely great. This is his best role since LA Confidential. He must get these dramatic roles from now on. His delivery is strong and deserves a praise or .. a nomination. This must be Felicity Jones's ticket to a limelight. She's is also the one who tends to be overlooked in favor of other actresses. She's is outstanding here and must be recognized as such.

The film is a true modern epic. It's visually stunning, an utter spectacle. Every shot could be a painting. The use of color, lighting, and shadows are masterful throughout. The scale and scope of the film is sweeping and impressive. The acting from Adrien Brody is utterly superb, while Felicity Jones and Guy Pearce are really great in their supporting roles. Pearce especially is a true relevation and really impressive, effortlessly playing a complex, nuanced character that really sneaks up on you in ways you don't expect; he is the source of a great deal of the film's levity and tension. The rest of the ensemble is good too. Joe Alwyn was a pleasant surprise, playing a character that easily could've been one-dimensional and a caricature. Stacy Martin has a smaller role, but every time she's on screen she's charismatic and a delight. Alessandro Nivola is also good and charming here, as is Raffey Cassidy, who plays a mute character, but does a great job acting with her eyes and conveying her feelings through her facial expressions. Moreover, the score, sound design, use of contemporaneous music, costumes, and atmosphere are all spot-on and really help to elevate the film and make it all the more immersive. You literally feel like you're watching a film from its time, not a modern film set in the past.

Where this film falters at times is in its writing and pacing. While most of the writing is wonderful and much of the dialogue is generally great, particularly the dialogue that Guy Pearce is given, there are a few scenes that either don't add to the film to move it forward, or they sully the film. This is particularly apparent in the last part of the film. For instance, towards the end, a character is attacked in a scene that is ostensibly supposed to be wrenching and significant, but plays like it's meaningless. Then later on, another character confronts the attacker and rather than feeling climactic and emotional as it should, it feels ridiculous, even campy. The epilogue also doesn't really stick the landing. What is supposed to be a touching speech from a character lands as a bit silly. It's like Brady Corbet, the director, wanted to wrap the film up in a big bow with the way he ends the film, and I can in a way understand what he was going for, but it just ends up being jejune and a tad disappointing. And because of the aforementioned issues with the writing, the pacing unfortunately suffers. Scenes that could've been better written or even edited out weigh the film down and makes the film at times feel longer than it is.

While the film's ending is just okay and could've been improved with better writing, that doesn't mean the film doesn't have an inspiring story at its heart. This is an incredible feat of cinema; it's an epic saga following László Toth, a Jewish Holocaust survivor, who flees Europe, leaving behind his wife and niece who are still stuck overseas, for the US to pursue the American Dream as an architect, settling in Pennsylvania. He's a tortured artist and soul who eventually finds success after being recognized by a wealthy industrialist, Harrison Lee Van Buren. Along the way there are triumphs, and trials and tribulations to match. But following Brody as the lead character is really something to behold. He's heartbreaking, charming, sympathetic, moving, and electric.

The film is a unique perspective on the human condition. It dissects the American Dream, putting on full display the positives and negatives; the black, white, and gray; and the inside and outside of the pursuit of it. This film is inspiring and phenomenal and truly amazing all in all; it is an experience.

"Brutalist" (2024), assuming it's a highly acclaimed and thought-provoking film: "Brutalist" (2024) is a cinematic masterpiece that will leave you breathless and yearning for more. This gripping drama, expertly crafted by Silver lion, delves into the complexities of human nature, exposing the darkest corners of our existence.

The film boasts an all-star cast, with Adrien brody delivering a tour-de-force performance. Their portrayal is raw, emotional, and hauntingly believable, making it impossible to look away.

The cinematography is breathtaking, with each frame meticulously composed to evoke a sense of unease and tension. The score, perfectly complementing the on-screen action, adds depth and complexity to the narrative.

What sets "Brutalist" apart is its thought-provoking themes and unflinching exploration of the human condition. The film raises important questions about morality, empathy, and the consequences of our actions.

Overall, "Brutalist" is a must-see drama that will linger in your mind long after the credits roll. With its exceptional performances, masterful direction, and haunting themes, this film is an unforgettable experience.

Don't miss out on this cinematic gem!

I was lucky enough to attend "The Brutalist" at a preview event at the Curzon in Soho, London. The screening was introduced by Brody, Corbet and Fastvold who gave an intriguing insight into the movie making process, the decision to shoot using VistaVision and how Brody was compelled to join the project from the very early stages.

"The Brutalist" is an intriguing cinematic experience, akin to a piece of art where its value is highly subjective. The film showcases exceptional acting, particularly by Adrian Brody, whose performance is so compelling that it seems destined to earn him a second Oscar. His nuanced portrayal adds depth to the narrative, making it a highlight of the film.

However, the movie does have its drawbacks. Its length is arguably excessive, which at times dilutes the impact of the storytelling. The extended runtime leads to pacing issues, and while the journey through the film is rich with character and visual artistry, the climax feels somewhat underwhelming.

Overall, "The Brutalist" is a commendable piece of cinema that, despite its flaws, manages to engage and provoke thought. Its artistic merits are undeniable, yet the execution in terms of length and climax leaves something to be desired. For its strengths in performance and visual storytelling

Review Score: 7/10.

I used to eagerly wait for A24 movies but in recent years something stopped working. Maybe they are doing too many things and are victims of growth. Or maybe there's some other internal change.

I also wanted to like the movie as I liked The Pianist a lot way back then.

The movie has some good acting and has a bit of a twist. But it kind of feels still formulaic and boring.

I didn't feel interested on any of the characters. There's no easy connection.

The movie is way too long. Perhaps it could do with a bit of a script fixes, cutting a lot. Or maybe some genius editing can save it.

Also the "unique perspective on the human condition" kind of story is ironically too repetitive.

And finally, at times it feels like it is a studio film trying to pass as arthouse film. Some scenes try too hard. Or they were trying to shock? I don't know and I don't care.

A big disappointment. I don't know what the 10/10 reviewers see. Glad they enjoyed it, at least.