Brady Corbet’s “The Brutalist” emerged less like a new film worth checking out than a movie colossus to behold.
Corbet’s visionary three-and-a-half-hour postwar American epic, shot in VistaVision, has taken on the imposing aura of its architect protagonist’s style. Little about it is tailored to today’s more prescribed movie world. It even has an intermission. And yet “The Brutalist” isn’t just one of the most acclaimed films of the year, it’s edged perilously close to the mainstream.
