The Brutalist

From the asymmetrical, Bauhaus-inspired typography in the opening credits to its conclusion at the end of a 3.5-hour runtime, The Brutalist is a visual feast for cinephiles. The attention to detail, particularly in the protagonist’s craftsmanship, is captivating, and the film takes its time savoring every small nuance. It’s a slow burn, but one that rewards patience.

Director Brady Corbet’s The Brutalist is the first film in decades to be fully shot in VistaVision and it's divided into two parts, The Enigma of Arrival, and The Hard Core of Beauty. A retro intermission divides the film.

At the core of the film is László Tóth (played by Brody), a Hungarian Jewish immigrant and visionary architect who escapes post-war Europe for America in a bid to rebuild his life, career and marriage. The characters and scenarios are so richly detailed and convincing that you might find yourself Googling whether Tóth is a real person—he’s not, but the portrayal feels utterly authentic.

It’s also a story of class, Zionism, architecture, addiction, toxic masculinity and the compromise between art and money. Corbet masterfully weaves a narrative that contrasts the 1950s New World promise of opportunity with the harsh realities faced by those left on the margins.

While I may be famously against indulgent directors with brutally long films, I found this film worth every second. In fact, its flaw lies in the final act, where the film shifts from its wonderfully simple narrative to a more event-driven climax, rushing toward a conclusion that feels overly dramatic, short on character and definitively abrupt.

In a nutshell: The Brutalist is a 3.5-hour slow burn, rich in detail and ambition. The pre-intermission portion is perfection, the back half disappoints in comparison.

Where to find it: In theaters now.

Would it be better with Olivia Colman: Everything is, but not a clear role for her here.

Awards potential: Expect two-digit nomination numbers for this one.

The Ten Buck Review: Worth ten bucks.