Stanley Kauffmann
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For 456 reviews, this critic has graded:
  • 39% higher than the average critic
  • 3% same as the average critic
  • 58% lower than the average critic
On average, this critic grades 4.4 points higher than other critics. (0-100 point scale)

Stanley Kauffmann's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Titanic
Lowest review score: 0 Hulk
Score distribution:
  1. Negative: 44 out of 456
456 movie reviews
    • 86 Metascore
    • 100 Stanley Kauffmann
    Soderbergh is helped enormously by the interplay of his actors, whom he has cast like a master... [He makes] a film that goes past what it shows to disclose what can't be seen. It's a fine achievement. [4 Sept 1989, p.26]
    • The New Republic
    • 90 Metascore
    • 100 Stanley Kauffmann
    Any film that provides Ian Holm with a large role is off to a good start. The Sweet Hereafter gets off to that start and keeps going. [Dec 8, 1997]
    • The New Republic
    • 91 Metascore
    • 100 Stanley Kauffmann
    Leigh, the writer, ties up things somewhat neatly and is a touch homiletic. Leigh, the director of cast and camera, is masterly. [Sept. 30, 1996]
    • The New Republic
    • 84 Metascore
    • 100 Stanley Kauffmann
    Who is Billy Bob Thornton? The question fascinates after seeing Sling Blade, the extraordinary first film that he wrote and directed and in which he plays the leading role. [Feb. 10, 1997]
    • The New Republic
    • 85 Metascore
    • 100 Stanley Kauffmann
    If Boogie Nights were poorly made and acted, its materials would make it intolerably tawdry. But its so well done that we keep watching. [Nov. 10, 1997]
    • The New Republic
    • 87 Metascore
    • 100 Stanley Kauffmann
    With most historical films the informed viewer scrutinizes in order to cluck at errors. (There are books full of such cluckings.) With Shakespeare in Love, the more one knows, the more one can enjoy the liberties taken. [Jan. 4, 1999]
    • The New Republic
    • 74 Metascore
    • 100 Stanley Kauffmann
    With the ship, with its totality of people, Cameron is wizardly, creating an entire society threading through the various strata of a world that has been set afloat from the rest of the world. [Jan. 5, 1998]
    • The New Republic
    • 90 Metascore
    • 100 Stanley Kauffmann
    The Truman Show is a reminder of the Beckett theme. The screenplay by Andrew Niccol starts from something like Beckett's abstraction and reifies it with details of contemporary culture, then moves on into fantasy. [June 29, 1998]
    • The New Republic
    • 87 Metascore
    • 100 Stanley Kauffmann
    If this weren't a true story, who would believe it? Well, a good many of us, probably. First, it's the kind of exceptional circumstance we like to dwell on as proof that pessimists are wrong; second, Shine is markedly well made, therefore persuasive. [Nov. 18, 1996]
    • The New Republic
    • 86 Metascore
    • 100 Stanley Kauffmann
    The ability to conceive a compact drama on this huge subject and to embody it as perfectly as they have done, added to what they have already accomplished, puts Jean-Pierre and Luc Dardenne among the premier film artists of our time.
    • 93 Metascore
    • 100 Stanley Kauffmann
    And Ben Kingsley--O rare Ben Kingsley!--is the Jewish accountant whom Schindler plucks from a condemned group to run his business and who combines gratitude with disdain, subservience with pride. (Actors who want to study the basis of acting--concentration--should watch Kingsley.) [13 Dec 1993]
    • The New Republic
    • 82 Metascore
    • 100 Stanley Kauffmann
    What an extraordinary idea it was to make this film. What a splendid achievement.
    • 83 Metascore
    • 100 Stanley Kauffmann
    We are certainly entitled to marvel at its very existence, but that isn't enough. The work itself is extraordinary.
    • 89 Metascore
    • 100 Stanley Kauffmann
    Gondry's virtuosity lifts the film far past science fiction into cinematic efflorescence. He shows us, more seductively than other directors have done, how freehand use of film can capture the flashes in our minds that slip between words.
    • 85 Metascore
    • 100 Stanley Kauffmann
    The last minutes of the film are exhilarating, but its real triumph is in everything that precedes the ending--the relatively simple lives of the three women up to that point.
    • 90 Metascore
    • 100 Stanley Kauffmann
    The result is a peculiar small gem, a true Linklater gem. The verity of the film, rather than any novelty or twist, keeps us fixed.
    • 85 Metascore
    • 100 Stanley Kauffmann
    One other element helps Out of Sight tremendously: the editing. [3 Aug 1998]
    • The New Republic
    • 82 Metascore
    • 100 Stanley Kauffmann
    In every aspect, his film is superbly made.
    • 85 Metascore
    • 100 Stanley Kauffmann
    Turtles Can Fly, is masterly: it courses before us with grace, a control that paradoxically bespeaks love and anger.
    • 80 Metascore
    • 100 Stanley Kauffmann
    The screenwriter Angus MacLachlan and the director Phil Morrison and an astonishingly perfect cast have quietly made a daring picture.
    • 60 Metascore
    • 100 Stanley Kauffmann
    Herman handled his script cleanly and cast the picture well. [09Jun1997 Pg 30]
    • The New Republic
    • 87 Metascore
    • 100 Stanley Kauffmann
    So in all the tumult about this film, the eruption of its subject into wide attention and the consequent revelations about cowboys' lives in the past, let us--without forgetting the American sources of the screenplay--acknowledge the anomaly that the director is Chinese.
    • 79 Metascore
    • 100 Stanley Kauffmann
    The picture is spectacular.
    • 89 Metascore
    • 100 Stanley Kauffmann
    Overall, the effect is presumably what Eastwood wanted: we are present at a momentous event, not watching a movie.
    • 88 Metascore
    • 100 Stanley Kauffmann
    Extraordinary--delicate, seriously disturbing, and lovely.
    • 78 Metascore
    • 90 Stanley Kauffmann
    The picture depends completely on those two performances (Whalberg, Forster), and the two actors come through.
    • 93 Metascore
    • 90 Stanley Kauffmann
    Irons, busily offset by Silver, gleefully choreographed by Schroeder, gives the picture its real bravura reason for being. [19 Nov 1990]
    • The New Republic
    • 56 Metascore
    • 90 Stanley Kauffmann
    The making of the film is so slick, the acting so exceptional, that we find ourselves trapped - caring about what happens to the three principals. [6 May 1991, p.26]
    • The New Republic
    • 69 Metascore
    • 90 Stanley Kauffmann
    Denis and her editor, Nelly Quettier, have assumed that they do not have to show the details of sex because we know them already. Instead, Denis and Quettier create a small visual poem on the subject.
    • 83 Metascore
    • 90 Stanley Kauffmann
    This is Sollett's first feature film -- he has previously made only one short -- and it shows, more than exceptional talent for cinema itself, his ability to evoke character, in a kind of sidewise offhand way, and to create a sense of community both within and around the film.

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