Stanley Kauffmann

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For 457 reviews, this critic has graded:
  • 39% higher than the average critic
  • 2% same as the average critic
  • 59% lower than the average critic
On average, this critic grades 2.2 points higher than other critics. (0-100 point scale)

Stanley Kauffmann's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Brassed Off
Lowest review score: 0 Hulk
Score distribution:
  1. Negative: 44 out of 457
457 movie reviews
    • 54 Metascore
    • 50 Stanley Kauffmann
    The trouble, which becomes quickly and oppressively apparent, is that the screenplay has no point except its plot. No theme, no intent of anything like Oliver Stone weight, is ever manifested.
    • 70 Metascore
    • 50 Stanley Kauffmann
    The picture is too long. It repeats and repeats. Thirty minutes, instead of its eighty-six, could have told us all we need to know about the danger and tedium of these lives.
    • 51 Metascore
    • 50 Stanley Kauffmann
    Both Wong and Soderbergh have understandably expressed their gratitude at, even in this tripartite way, being part of an Antonioni project... But Eros is better for what they contribute than for his work.
    • 57 Metascore
    • 50 Stanley Kauffmann
    The picture's effect: the sexual element is trenchant, while the status of Muslim youth registers strongly.
    • 79 Metascore
    • 50 Stanley Kauffmann
    Its very existence as a film sets up expectations that wouldn't exist within a book -- another reason I'd bet that there would be more pleasure in reading the screenplay. I can't remember ever thinking that previously about a film. (1998 May 23, p. 26)
    • The New Republic
    • 87 Metascore
    • 50 Stanley Kauffmann
    The film is repetitious. Herzog has varied the original footage with some interviews that he conducted with a former Treadwell girlfriend and some other friends and observers. Still, an hour of it would have been more effective than the present feature length.
    • 59 Metascore
    • 50 Stanley Kauffmann
    Candor about homosexuality is now so widely accepted as part of theater-film possibilities that plays and films offering not much more than such candor seem dated. In that sense Love! Valour! Compassion! is an important, if dull, milestone. [09Jun1997 Pg 30]
    • The New Republic
    • 81 Metascore
    • 50 Stanley Kauffmann
    This sort of investigation has been done so masterfully by Sam Peckinpah in "The Wild Bunch" and Oliver Stone in "Natural Born Killers" that, in a sternly utilitarian sense, we don't need Cronenberg. He is not, as far as I have seen, in their class. He proves it again in A History of Violence.
    • 80 Metascore
    • 50 Stanley Kauffmann
    Yet the McCarthy/Murrow conflict in the picture is not pressing enough--these days, anyway--to justify the considerable skill expended on it.
    • 62 Metascore
    • 50 Stanley Kauffmann
    Come back, Jim Jarmusch. Come back to the pungency of your first films. Leave the 1970s. Come back to the future. [03 Jun 1996, Pg.30]
    • The New Republic
    • 54 Metascore
    • 50 Stanley Kauffmann
    All these mystical elements are so sententiously handled and bump into one another so clumsily that they make the film seem nutty. But because spirituality is the theme of Bee Season, we are obviously not meant to laugh at it. Well, I wish I could get Jehovah's reaction to the picture.
    • 57 Metascore
    • 50 Stanley Kauffmann
    This Jeffrey Hatcher-Kimberly Simi version, directed by Lasse Hallström, has a resemblance to some of Casanova's memoirs but is chiefly based on the assumption that, in a costume drama, anything goes.
    • 69 Metascore
    • 50 Stanley Kauffmann
    Malick continues to float along the edge of the American film world as an unusually intelligent personage who occasionally delivers the fruit of his meditations. But his role as adjunct philosophe is better than the films he eventually gives us.
    • 62 Metascore
    • 50 Stanley Kauffmann
    Less would have been more. Still, CSA has some laughs, most of them bitter.
    • 56 Metascore
    • 50 Stanley Kauffmann
    We may indeed yawn a bit from time to time, but we know that we are yawning in the presence of a director who is intelligently disturbed by the moral inertia he sees around him and whose future is worth watching.
    • 63 Metascore
    • 50 Stanley Kauffmann
    The danger in Hong's procedure is obvious. Dramatists learned long ago that it is risky to include a static character because he may so easily bore the audience.
    • 66 Metascore
    • 50 Stanley Kauffmann
    [Douglas McGrath's] adaptation of the novel is as complete as two hours would allow. What it lacks texturally is what no adaptation could adequately supply: the gleam of the Austen prose. [19 Aug 1996, Pg.38]
    • The New Republic
    • 66 Metascore
    • 50 Stanley Kauffmann
    Eastwood, who directed the picture adequately, is inadequate in this role. He has done a lot of impressive acting in films, but none of it has been sexually romantic, and the age of 64 was not the right time to take up that line of work. [03Jul1995, Pg. 26]
    • The New Republic
    • 45 Metascore
    • 50 Stanley Kauffmann
    A moderately engaging satire, some of it amusing and some of it strained, but in considerable measure it reflects a strange circumstance in all our lives.
    • 46 Metascore
    • 50 Stanley Kauffmann
    The screenplay is at the start far from lucid in setting forth characters and relationships and intents. And after the film has been barreling along for two hours of its 148-minute journey, it seems to have lost the ability to finish. Three or four times in the last half-hour, I thought the film was over, only to be jarred by more of it.
    • 73 Metascore
    • 50 Stanley Kauffmann
    Despite the pictorial riches, despite the firm performances by Ray Winstone as the captain and Guy Pearce as Charlie Burns, despite the miraculous John Hurt in an eccentric role that was put in just for spice, The Proposition is hollow.
    • 75 Metascore
    • 50 Stanley Kauffmann
    Only the onstage performing has moments of lift, particularly Keillor's diabolically homespun monologues and the cowboys with their risqué jokes that are reminders of such outhouse reading as Captain Billy's Whiz Bang.
    • 62 Metascore
    • 50 Stanley Kauffmann
    The best performance comes from Stanley Tucci as the Runway art director. Tucci presents a homosexual man without a trace of cartoon--shrewd, skilled, and weathered without being worn. It is a well-judged and accomplished piece of work.
    • 61 Metascore
    • 50 Stanley Kauffmann
    What the role needs, and what Macy cannot quite provide, is the sense not of a robot but of a potent man who has been imprisoned by rote. Remember Jack Nicholson in "About Schmidt."
    • 61 Metascore
    • 50 Stanley Kauffmann
    We are meant to think about a society that revels in this moral pit. But all that puzzled me was why an audience would need a film to immerse it in wanton, speciously motivated death when the television news provides so much of it every day.
    • 37 Metascore
    • 50 Stanley Kauffmann
    The film isn't dreadful: it is just generally disappointing.
    • 52 Metascore
    • 50 Stanley Kauffmann
    Winslet is an actress, Diaz is not. The screenplay by Nancy Meyers, who directed, has dialogue that is not near the snap level of, say, Nicole Holofcener's comparable "Friends With Money."
    • 64 Metascore
    • 50 Stanley Kauffmann
    The one attraction in the picture is DiCaprio's performance: easy yet strong, confident, humorous.
    • 64 Metascore
    • 50 Stanley Kauffmann
    In short, this squad is an ill-trained, slovenly bunch of soldiers. That such behavior exists, or can exist, in any army is surely commonplace, but that Israeli producers should want to make a film about the matter at this time is puzzling.
    • 52 Metascore
    • 40 Stanley Kauffmann
    The best performance, the only one that can really be called acting, is Diane Ladd's as the mother. Ladd gives us a woman full of self-pity and shrewdness, full of sexual experience and guile, who has now reached the age when, if she wants to, she can turn off sexual heat in favor of cold power drive. [24 Sept 1990, p.32]
    • The New Republic

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