Nina Benjamin’s Critique
★★★★☆
I was sceptical going into The Brutalist. Nearly four hours long, with a muted marketing campaign, it didn’t initially excite me. But by the time the credits rolled at the Lewes Depot (because you can’t beat a £2.50 cinema ticket), I was pleasantly surprised.
The film is split into two halves, which makes the long runtime more digestible. The first half pulled me in entirely; it was intimate and beautifully paced. I found myself fully engaged with the story of architect László Toth (Adrien Brody), and his struggles as a Jewish immigrant in post-World War II America. However, the second half lost me at times. Some scenes felt like unnecessary padding, stretching the film’s length rather than adding meaningful depth.
What truly kept me invested throughout was the stunning cinematography and an incredible score that enriched every scene. The proof is in the pudding as The Brutalist was able to snatch both Best Score and Best Cinematography at the Oscars. In terms of other supporting characters, I felt both Guy Pearce and Felicity Jones’ characters were nothing to write home about. As for Brody, his performance is undeniably compelling, but László doesn’t feel far removed from his Oscar-winning role in The Pianist (2003). Giving him another Best Actor win for a character so similar felt lazy.
The film premiered at a politically charged time, with references to Israel throughout. While the incorporation of Israel wasn’t surprising, the scene where Felicity Jones’ character abruptly decides to “return home” felt like unnecessary Zionist propaganda, awkwardly inserted into an otherwise deeply personal narrative.
One of the more concerning aspects of The Brutalist is Brody’s AI-assisted accent. Considering his Hungarian heritage, it’s odd and unsettling that he relied on artificial intelligence. This raises a larger question, should films using AI-generated performances be judged on the same level as traditionally made films?Despite its flaws, The Brutalist definitely left an impression. It felt so tangible and well-written that I had a Mandela Effect moment, where I truly believed László Toth was a real architect. The film’s immersive storytelling left me convinced I had seen some of Toth’s work before. Long but worthwhile – a solid four out of five stars.
Georgia Buckles’ Critique
★★★★☆
I knew going into a three and a half hour long film with an intermission and Adrien Brody playing a similar role to The Pianist, that this film wasn’t for me. Nonetheless, there was something about the trailer that intrigued me, and immediately gave the tone and feel of the film without revealing any plot. After much persuasion from Nina, and optimism due to the many Oscar nominations it received, I bit the bullet and gave it a go.
I should disclaim before I get into my review, I watched this in the comfort of my bed on a sunny Saturday in between doing chores and uni work; not an ideal viewing experience. But had the film had a shorter runtime and no unnecessary interval? Maybe then I’d have found the time to watch it in its intended viewing experience in the cinema.
Unfortunately, to sit for nearly four hours with very little happening, no care towards any of the characters (most of them bullies, such as Guy Pearce and Joe Alwyn’s characters), and quickly losing interest in the plot as we see more conflict and buildings being built, I certainly wasn’t wowed. That being said, the cinematography blew me away. The Brutalist is shot in VistaVision, a type of film that hasn’t been used since the end of the Old Hollywood era, and it looked magnificent. The technique added so much texture and substance to an otherwise fairly average film.
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The opening scene was also so powerful. Corbet’s soundtrack and shots reveal each element of the setting, climaxed with the slow reveal of the Statue of Liberty, foreshadowing themes of the American Dream myth that shadows the story throughout. The acting wasn’t anything special, and overall, The Brutalist was nothing new or exciting. I kept feeling reminded of Oppenheimer when watching this. Another long, slow-paced film of men mumbling to each other about things they deem incredibly important. So if that’s something you like, eat your heart out.