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.

"Brutalist," much like the architectural style it's named after, is imposing, cold, and ultimately, quite boring. This film, which chronicles the decades-spanning career of an ambitious architect, aims for epic grandeur but instead delivers a bloated and convoluted narrative that collapses under its own weight.

While the film boasts a striking visual style, meticulously recreating period details and crafting impressive architectural set pieces, this commitment to aesthetic flourishes comes at the expense of a compelling story. We are presented with a series of loosely connected vignettes, each more ponderous than the last, detailing the triumphs and tribulations of a man more cipher than character.

The film's central problem is its length. Clocking in far too long, "Brutalist" feels like a never-ending tour of a building you've already seen every corner of. The complicated, multi-stranded plot, only adds to the confusion, leaving the audience struggling to piece together a narrative that feels unnecessarily fragmented.

Ultimately, "Brutalist" is a classic case of style over substance. It's a film that clearly prioritizes visual spectacle over emotional resonance, leaving the viewer feeling impressed but ultimately detached. It's a beautifully constructed edifice with nothing inside, a testament to the fact that even the most impressive facade can't mask a hollow core. This film is less a moving story and more an endurance test, a stark reminder that bigger isn't always better, and that sometimes, less is truly more. Save your time and admire a well-designed building instead.

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.

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.

This was actually the second major 2024 film that took inspiration from Ayn Rand's seminal paean to architectural iconoclasm, "The Fountainhead". The other was Francis Ford Coppola's self-funded $120M folly, "Megalopolis". Director and co-scenarist Brady Corbet managed to spend only less than $10M on his magnum opus, truly an impressive feat given the film conveys the sweep of an epic over its marathon 214-minute running time with a 15-minute intermission. Co-written by Corbet and Mona Fastvold, the story focuses on Hungarian Jewish refugee László Tóth, a gifted Bauhaus-trained architect who starts in abject poverty upon his arrival in America and initially stays with his fully Americanized cousin Attila and his wife. They receive a commission to renovate the library of industrialist magnate Harrison Lee Van Buren, who initially hates the result designed by László. He has a change of heart three years later after architectural critics praised the work. This represents László's turning point as a thriving Howard Roark-type architect unwilling to compromise on his vision, and that's only the first half of the movie. His wheelchair-bound wife Erzsébet and mute niece Zsófia finally arrive from Europe, and complications ensue with the construction of Van Buren's dream project, a multi-purpose community center dedicated to his late mother. A sudden albeit unsurprising traumatic experience causes a domino effect on all their lives. In his career best work, Adrien Brody shows himself fully committed playing all the facets of László with passionate fervor. Guy Pearce makes the most of his juicy role as the vainglorious Van Buren. Felicity Jones makes a quieter impression as Erzsébet until marital discord escalates and culminates with an unexpected confrontation scene. Other roles were filled expertly with standout work from Joe Alwyn as Van Buren's venal son Harry and Alessandro Nivola as Attila. Even though there are murky elements, they don't deter from the emotional impact Corbet provides with his masterwork on iconoclasm and the immigrant experience.

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.

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.

'The Brutalist' never lets you breathe. The director builds it with such purpose that you see the care in every frame. He's a talented craftsman, no question, but also so crushingly serious. And that chokes out any real feeling. You watch the artistry turn into artifice. And, after a while, all that weight just presses down.

The film is so obsessed with being Art that it forgets to let you in. It's so heavy with its own importance that it starts to close in on itself so much so that eventually all you see is this polished facade, reflecting its own seriousness back at you.

It doesn't stay with you. It stands there, sealed off by its own sense of importance, and you're left outside.

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.

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.

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.

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.

I love this film. It is very long, even scheduling in a break. But it is beautiful, imaginative, challenging, and assembled with love and care. It is a melodrama with a conscience. The acting, writing, directing, cinematography,, and production design are uncompromising and near perfect, It's kind of a The Fountainhead with an anti-capitalist spirit,

I love art and architecture as art. I knew what Brutalitism was as an extension of the Bauhaus movement. And the main character is an architect whose designs are clearly part of this form. There is a sly double entendre with the title and another character, who is another kind of brute.

Even though it was long, I was never remotely bored. I know the length will put many people off. This is not the only film that has contrasts art and commerce. But it may be the best. The movie is so beautiful, it is amazing that it was made for 10 million dollars. It is not gimmicky. It is uncompromising. It is extraordinary.

I had no intention of watching The Brutalist, but I ended up going to the cinema unexpectedly. With a runtime of almost four hours, I was convinced I would feel the weight of time and eventually get bored. However, I couldn't have been more wrong-I was absorbed from the very first minutes and drawn into a rare and powerful cinematic experience.

The Brutalist is a dense, demanding, and meticulous film. It's one of those works that require a certain state of mind, and honestly, I know it's not for everyone. I completely understand those who might find it boring or excessive, but for me, it was the opposite. From the start, I was captivated by the masterful editing, which maintains an almost hypnotic rhythm without ever becoming monotonous, the outstanding performances that bring incredibly complex characters to life, and the breathtaking cinematography that turns each frame into a true work of art. The soundtrack, grand and carefully integrated, adds an epic layer to many scenes, contributing to the film's immersive atmosphere.

To illustrate how I felt watching this masterpiece, I recently had a completely different experience with Nosferatu (2024). Although they are very different films, Nosferatu is half as long, has more action, and yet I found it absurdly boring and soulless (like 75% of Eggers' films). On the other hand, The Brutalist, with its slower development, managed to keep me engaged in every scene, allowing me to form a genuine emotional connection with the story. In my view, cinema should involve me and evoke emotions, and The Brutalist achieved exactly that.

The story itself is relatively straightforward, but its depth lies in the themes it explores. Following the journey of a Jewish architect who emigrates to the United States in search of a new life, the film delves into topics such as immigration, identity, ambition, greed, and the desire to leave a lasting legacy. More than just the story, it's the characters that make The Brutalist so impactful. Each one carries an emotional complexity that unfolds layer by layer, and the performances are simply astounding. It's impossible not to feel immersed in the protagonist's journey, brilliantly portrayed by Adrien Brody.

It's not hard to understand, but it's an extremely dense work with much to reflect on regarding themes such as immigration, greed, ambition, legacy, and architecture. However, it's the depth of the characters and the remarkable performances that define each moment.

Despite all its strengths, the film is not perfect. For me, the biggest issue is the ending (well before the epilogue), which felt rushed and somewhat inconclusive for certain characters who played such a significant role throughout this odyssey. It's as if the film was building up to something grand but didn't quite know how to wrap it up in the most satisfying way. The epilogue tries to fill some of these gaps, but it still feels like a somewhat abrupt conclusion for a film that demands so much from the audience over nearly four hours.

Overall, The Brutalist is a film that requires patience and commitment but rewards those who allow themselves to be immersed in it. It's not an easy film, but it's a powerful and emotionally rich cinematic experience that encourages reflection on timeless themes in a visually stunning way. Without a doubt, it's a film that will stay with me for a long time. And this, my friends, is cinema in its purest form.

"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.

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.

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.

I fully admit a film like this may be beyond my threshold for artistic interpretation and appreciation - we all have our limits to what we can comprehend - it just seemed a bit too meandering and didn't deliver the storylines succinct enough for my liking, some even arriving extremely late in the story and left you wondering how or why it evolved. Aside from the messiness of the tale, five minutes in its clear why Adrien Brody is receiving so many accolades - his acting is top notch and in full range with 'The Brutalist'. The cinematography is immaculate as well, though I wish we'd chosen the IMAX version instead of the standard 35mm showing. Overall, I didn't mind the film, I did think it was decent, I didn't find myself squirming in my seat the way I did with the similar run length of 'Babylon', I just don't see it as a masterpiece of storytelling. 6/10 stars.

After seeing so many people rave about this film and say it is the best of 2024 I was somewhat excited and intrigued to watch this. I have loved Adrien Brody as an actor since The Pianist and after watching the trailers for The Brutalist I figured this film would be that level of quality.

Unfortunately that is not remotely the case. While Guy Pearce and Adrien Brody give great performances, the film itself just does not work at all. It starts off great with beautiful cinematography and what seems to be a great story but it all just falls apart after the intermission.

Honestly to me at least it felt like two separate movies. The first half was interesting, unique and engaging while the second half felt like watching paint dry it was so boring. What makes it even more bizzare is the pacing feels like it goes from 0 to 100 and at the same time nothing really happens.

If you enjoy looking at buildings/architecture for nearly 3 hours and 40 minutes maybe this movie is for you. For me though this is one of those films that came out just to take home a ton of awards because it's "art".

Beautifully shot and great cinematography. The visuals on this film are just stunning and this director was on my radar since Vox Lux. Some wonderful acting and some not so good acting. Brody is fantastic but Guy Pearce was pushing and overacting and then Alessandro Nivola comes in with his beautiful subtly and simplicity in listening which brings us back to truth. Joe Alwyn started a little rusty but got better as the film went on but I was distracted in how it seemed like in every frame he got plumper and plumper and it took me out of it to watch his characters face get fatter as each scene progressed. The story lacks tension. Very boring movie. However, I understand the awards circuit because it deals with a hot social issue/group right now that is creating a lot of tension in the world. And it is a story about a group of people and them coming to America post WWII. This film would've been better if there was active tension in the script but it was just a lot of talking to gain very little: beautiful palate though.

I should add, I did walk out after the intermission because I was just unfortunately too bored to sit through it and was thinking of other things.