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A Very Brady Sequel

A Very Brady Sequel

Family · Comedy · 1996

A man claiming to be Carol Brady's long-lost first husband, Roy Martin, shows up at the suburban Brady residence one evening. An impostor, the man is actually determined to steal the Bradys' familiar horse statue, a $20-million ancient Asian artifact.

Movie details

A Very Brady Sequel

“The more everything changes the more they stay the same.”

1996 Family · Comedy 1h 30m

Critical arithmetic

The consensus, allegedly.

IMDb

5.9 / 10

12.1K votes

Rotten Tomatoes

58 %

Tomatometer

Metacritic

56 / 100

Metascore

TMDB

5.8 / 10

Community rating

External scores via OMDb · CC BY-NC 4.0. Values normalized for display; availability varies by title.

A man claiming to be Carol Brady's long-lost first husband, Roy Martin, shows up at the suburban Brady residence one evening. An impostor, the man is actually determined to steal the Bradys' familiar horse statue, a $20-million ancient Asian artifact.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over A Very Brady Sequel?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Where it lives

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Names above the title

The people responsible.

Directed by

Arlene Sanford

Written by

Harry Elfont · Deborah Kaplan · James Berg · Stan Zimmerman

Shelley Long

Shelley Long

Carol Brady

Gary Cole

Gary Cole

Mike Brady

Christopher Daniel Barnes

Christopher Daniel Barnes

Greg Brady

Christine Taylor

Christine Taylor

Marcia Brady

Paul Sutera

Paul Sutera

Peter Brady

Jennifer Elise Cox

Jennifer Elise Cox

Jan Brady

Jesse Lee Soffer

Jesse Lee Soffer

Bobby Brady

Court is in session

Put A Very Brady Sequel on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Popcorn Loyalist

“It owes the canon nothing.”

The movie pursues immediacy and audience pleasure without begging institutions to certify its worth.

The prosecution The Big-Idea Head

“Easy pleasure, short half-life.”

It moves efficiently through the moment but offers little reason to keep arguing once the credits end.