(1985)

Critic Reviews

88

Metascore

Based on 12 critic reviews provided by Metacritic.com
100
The New York Times
Brazil may not be the best film of the year, but it's a remarkable accomplishment for Mr. Gilliam, whose satirical and cautionary impulses work beautifully together. His film's ambitious visual style bears this out, combining grim, overpowering architecture with clever throwaway touches.
100
Entertainment Weekly
One of those rare gems that prove equally stunning on both aesthetic and cerebral levels.
100
It's a glimmering hunk of fractured brilliance riddled with Orwellian paranoia encased in a production design seemingly pieced together from the shared dreams of Franz Kakfa and Salvador Dali, and shot from cruelly low angles.
100
This modern cult classic is a triumphantly dark comedy directed by one of the film world's truly original visionaries, Terry Gilliam. "Imagination" is this futuristic film's middle name.
100
It remains a stunning achievement, if nearly as exhausting and frustrating as the Tex Avery bureaucracy it roasts, but Gilliam's stylistic dysfunctionalities, art-directed out of junkyards, are what still percolate in the forebrain.
100
Film.com
For all its occasional long-windedness and visual dazzle, Brazil may be the "Strangelove" of the 1980s.
100
Time
There is not a more daft, more original or haunting vision to be seen on American movie screens this year... A terrific movie has escaped the asylum without a lobotomy. The good guys, the few directors itching to make films away from the assembly line, won one for a change. [30 Dec 1985, p.84]
100
Chicago Reader
A ferociously creative 1985 black comedy filled with wild tonal contrasts, swarming details, and unfettered visual invention--every shot carries a charge of surprise and delight.
70
Blindingly obtuse, excessively morose, the film is nevertheless dazzling in its inventive and massive sets and spectacular in its techniques...A powerful work that is both bleakly funny and breathtakingly assured.
50
Chicago Sun-Times
Perhaps it is not supposed to be clear; perhaps the movie's air of confusion is part of its paranoid vision. There are individual moments that create sharp images (shock troops drilling through a ceiling, De Niro wrestling with the almost obscene wiring and tubing inside a wall, the movie's obsession with bizarre duct work), but there seems to be no sure hand at the controls.

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