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 4.6 points higher than other critics. (0-100 point scale)

Stanley Kauffmann's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 The Truman Show
Lowest review score: 0 Miller's Crossing
Score distribution:
  1. Negative: 44 out of 456
456 movie reviews
    • 74 Metascore
    • 90 Stanley Kauffmann
    The result, except for the stock action climax, is sharp, fast, bitter. [19 September 1994, p. 38]
    • The New Republic
    • 84 Metascore
    • 90 Stanley Kauffmann
    Sheridan and colleagues understood their chief problem: how to sustain interest in a story that was well-known in advance, not a large historical subject with its own prestige but a news story now dated. So they concentrated on character and on acid irony. [03 Jan 1994 Pg. 28]
    • The New Republic
    • 94 Metascore
    • 80 Stanley Kauffmann
    Payne's directing is alert, warm, patient. He knows that the surface must keep us interested until we go below it, and his confidence holds us.
    • 88 Metascore
    • 80 Stanley Kauffmann
    There is not much progress in the film: actions are repeated and repeated...Yet the film is sustained--and, for the most part, well sustained--by the children.
    • 89 Metascore
    • 80 Stanley Kauffmann
    Like some wines, The Best of Youth travels well. From its earliest moments the film is intelligently seen.
    • 91 Metascore
    • 80 Stanley Kauffmann
    Whatever the virtues of The Queen--and it certainly has them--it simply would not exist without Mirren.
    • 65 Metascore
    • 80 Stanley Kauffmann
    The film holds us principally because of its Napoleon. Philippe Torreton doesn't perform the role: he exists.
    • 70 Metascore
    • 80 Stanley Kauffmann
    The overall effect is of a young director treating some old problems with the cinematic lexicon of his time. So he is able to create warmth without slush.
    • 78 Metascore
    • 80 Stanley Kauffmann
    It's agreeable to see a picture that holds us without perspiring to do so. We are treated not as an audience but as café chums to whom a story is being told
    • 76 Metascore
    • 80 Stanley Kauffmann
    The name of Hugo Colace ought to be known to the film world. He is the cinematographer of an Argentinean film called Intimate Stories. Not since some Tibetan films have I seen such vastness, sparsely inhabited, almost ringing with immensity.
    • 61 Metascore
    • 80 Stanley Kauffmann
    The film is old-fashioned because it exists. No one, to use an ever-dubious line, makes films like this anymore.
    • 84 Metascore
    • 80 Stanley Kauffmann
    Both these stories, which of course develop further, are more engaging than they may sound, because Desplechin directs them so intelligently and because they are so well acted.
    • 73 Metascore
    • 80 Stanley Kauffmann
    Kaminski, who is as good as any cinematographer working today, matches the chromatic tones of shots to their content in ways that can only be called exciting.
    • 82 Metascore
    • 80 Stanley Kauffmann
    One of the best elements in the adaptation is Caine's blending, like le Carré's, of the past and the present so that one can enrich the other. There are no stilted flashbacks: both past and present are treated as present, which gives the film a texture of depth.
    • 79 Metascore
    • 80 Stanley Kauffmann
    Extraordinary--vivid, stripped, intense.
    • 67 Metascore
    • 80 Stanley Kauffmann
    But Anker's real success here is himself. He was obviously able to get these men and women to open up to him. And thus, quite obliquely, they remind us of a threat. As everyone knows, American symphony orchestras are in trouble. Attendance is dropping, and managements are trying various maneuvers, even stunts, to attract people.
    • 64 Metascore
    • 80 Stanley Kauffmann
    A lively, long, intelligent documentary.
    • 78 Metascore
    • 80 Stanley Kauffmann
    Jacques Richard has fashioned an adoring tribute to this wonderfully maniacal man.
    • 71 Metascore
    • 80 Stanley Kauffmann
    Even though no reasonably well-informed viewer will learn much factual information from the picture, it grips; it even torments, because it lets us move and breathe and shiver and resolve with two particular young men.
    • 58 Metascore
    • 80 Stanley Kauffmann
    The daring achievement of Jarhead is that it is not a film about war, about combat: it is about being a soldier.
    • 69 Metascore
    • 80 Stanley Kauffmann
    Bellochio, who began his career in 1965, has made some of the most trenchant Italian films on political themes, and Good Morning, Night is one more of them.
    • 59 Metascore
    • 80 Stanley Kauffmann
    It is the central performance that holds us. Cillian Murphy glows.
    • 80 Metascore
    • 80 Stanley Kauffmann
    Sitting in front of Tristram Shandy for an hour and a half lets us enjoy the fact that, smooth though its making is, the picture is winking at us.
    • 68 Metascore
    • 80 Stanley Kauffmann
    Holofcener's new film is extraordinary: it engages us from beginning to end without strong narrative, or narratives. It lives through the quality of Holofcener's dialogue and the performances that she has drawn from her actors.
    • 70 Metascore
    • 80 Stanley Kauffmann
    As directors, Harari and De Pelegri have just the right light-fingered glissando touch. Not a moment sags. Their cast relishes and fulfills the tempo.
    • 74 Metascore
    • 80 Stanley Kauffmann
    Chabrol insured the power of this dangerously difficult film with perfect casting. The two lovers are so well acted that their story--and its finish--are incredibly convincing.
    • 68 Metascore
    • 80 Stanley Kauffmann
    What Burger and his colleagues have done is to entrance us with a richly acted, beautifully produced story.
    • 71 Metascore
    • 80 Stanley Kauffmann
    This is the fourth film directed and at least co-written by Beauvois. (He has acted in a number of pictures, including a previous one of his own, and he is in Le Petit Lieutenant for a while.) He is a clean and sure director, with a good selective eye: he knows where we ought to be looking at any moment. We can hope for more Beauvois films with worlds of their own.
    • 84 Metascore
    • 80 Stanley Kauffmann
    The segments are so cleverly arranged--Apted includes past pictorial references for each of the people we revisit--that now there is something almost mystical involved. It is as if a wizard were giving us an overview of forty-two years that mortals were possibly not meant to see.
    • 69 Metascore
    • 80 Stanley Kauffmann
    An engrossing documentary.

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