Unlike an architectural style known for simplicity, The Brutalist film covers multiple themes. Meanwhile, the lone word “brutal” spurs thoughts of ruthless, callous behavior, which flourishes in The Brutalist. As architecture, brutalism often displays unique designs and shapes and features astounding visuals, original concepts suiting a movie that defies current trends. Spilling out with grand sweep and scope, The Brutalist includes an overture, intermission, and 215-minute running time. Co-writing with Mona Fastvold, director Brady Corbet uses history to influence a fictional story about a Hungarian Holocaust refugee forced to uproot and revitalize his life by moving near family in Pennsylvania. A genius architect in the Brutalist style, his talent shines through but not without realizing that Western opportunities prove less free and open than advertised. As brutalist architect László Tóth, Adrien Brody envelopes himself in a role that requires wonder and disillusionment, joy and desperation, wisdom and foolishness. Brody hits every mark with depth and pathos, aided by supporting cast members. In what initially seems a simple character, Guy Pearce stands out as the architect’s benefactor, funding grandiose projects whose destination involves long-lasting impacts. The movie’s final lines switch that old destination cliché, reflecting the film’s overall ambitions to upend standard operational procedure. As it turns out, my only complaint during three-plus-plus viewing hours comes because I wanted more time spent to answer a couple of questions about a key scene just shy of the movie’s epilogue. More? Well, just a little because The Brutalist already offers way more than run-of-the mill drama to serve as an absorbing, rewarding, and memorable cinematic experience.