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
    • 56 Metascore
    • 70 Stanley Kauffmann
    When a spectacular film rests on at least a minimal armature of character and cogent action, as Troy does, we can just sink back and enjoy. What we enjoy is the sovereignty over time and place and the force of gravity that film has given to the world.
    • 66 Metascore
    • 70 Stanley Kauffmann
    Russell wants us to feel the itch of familiarity: it's part of his tonal plan. And he survives this structural hazard because he casts all the roles so well and gives his actors dialogue as fresh as the familiar situations would permit. [01 Aug 1994 Pg. 28]
    • The New Republic
    • 58 Metascore
    • 70 Stanley Kauffmann
    The most important aspect of the stories about all five characters is the way they are told. Attal and his editor Jennifer Augé have found an attractive playful style: they never let the stories rest, almost juggling them, and keep them gamboling before us.
    • 66 Metascore
    • 70 Stanley Kauffmann
    The real success of Duncan Tucker, who wrote and directed this debut feature, is that, through credible dialogue and sensitive performances, the basic idea overcomes its cleverness and is affecting.
    • 80 Metascore
    • 70 Stanley Kauffmann
    The screenplay of Saraband feels concocted, not absorbed from life in sense and soul like so much of Bergman's work.
    • 90 Metascore
    • 70 Stanley Kauffmann
    To see the flight captain and co-pilot checking the plane before takeoff, to watch the varied passengers settling into their seats, is more agonizing than watching passengers board the ship in all those "Titanic" films. With United 93 we see these people unknowingly stepping into a history that is still in terrible process. But as a work in (let's call it) the Akhmatova mode, it does not and could not succeed.
    • 73 Metascore
    • 70 Stanley Kauffmann
    Softley worries a bit, quite unnecessarily, about keeping our interest; so he lays in a number of overhead shots and considerable zooming at the start of sequences. But his work with his cast is sure, except for the miscast Elliott, and he generates the right internal heat between the lovers.
    • 64 Metascore
    • 70 Stanley Kauffmann
    Like many other Iranian films, Blackboards counters the generally broadcast ideas about this part of the world. It is a testament of quiet endurance, of common concern, of reconciled survival.
    • 68 Metascore
    • 70 Stanley Kauffmann
    The chief pleasure in the picture (set in Los Angeles) is in watching Hopkins spin off another of his nutty self-possessed intellectual criminals--this time it's Hannibal Lecter lite.
    • 55 Metascore
    • 70 Stanley Kauffmann
    The film is in one sense lifelike: in order to get the good, we have to endure the lesser.
    • 65 Metascore
    • 70 Stanley Kauffmann
    The finish is so asymmetrical that it, too, seems a comment on the kind of film this might once have been.
    • 66 Metascore
    • 70 Stanley Kauffmann
    Stone has concentrated on one of the catastrophe's stories and has fashioned it well--with almost palpable physical detail, and with performances that never sink to exploitation.
    • 90 Metascore
    • 70 Stanley Kauffmann
    At least we know this Allen persona, whatever his current name; the other characters, starting from scratch, don't get much past scratch. Although the picture spreads its attention fairly evenly among them, most of them end up as supporting cast because they are only life-size puppets. [Feb 10, 1986]
    • The New Republic
    • 80 Metascore
    • 70 Stanley Kauffmann
    Tornatore has learned much from Fellini--especially in the long shots where someone suddenly appears close up. Let's hope he moves on to his own style. Meanwhile, he has given us a nice bask in Sicilian warmth. [Feb. 19, 1990]
    • The New Republic
    • 70 Metascore
    • 70 Stanley Kauffmann
    Entertaining though The Hoax is, the film that I imagined before I saw it was better.
    • 68 Metascore
    • 70 Stanley Kauffmann
    Jarecki says that his film doesn't precisely answer the question in his title. He is mistaken.
    • 94 Metascore
    • 70 Stanley Kauffmann
    But the way that this picture has been so widely ravened up and drooled over verges on the disgusting. Pulp Fiction nourishes, abets, cultural slumming. [14 Nov 1994]
    • The New Republic
    • 73 Metascore
    • 70 Stanley Kauffmann
    Wade, presumably with Nichols's urging and aid, has tricked up most of the picture with plotting that scuttles the realism of the beginning, strangles any serious view of the theme, and ends up ludicrously incredible. [30 Jan 1989, p.28]
    • The New Republic
    • 79 Metascore
    • 70 Stanley Kauffmann
    So much of this adaptation is engrossing that the script's additions are jarring.
    • 82 Metascore
    • 70 Stanley Kauffmann
    All four of the roles are written with pungency. There is even an implication that the two adults realize the triteness of the situation and that they--the characters, not Baumbach--want to speak from inner sources, not from a script. Baumbach pulls this off with some sting and wit.
    • 67 Metascore
    • 70 Stanley Kauffmann
    But for those who can summon up the talismanic "what if," The American President provides chuckles and tingles, even a few sobs. [18 Dec 1995, p.28]
    • The New Republic
    • 65 Metascore
    • 70 Stanley Kauffmann
    All political thrillers, good or less good, have moral implications...Walk on Water, one of the better ones, has grave moral implications and does not ignore them or merely utilize them.
    • 48 Metascore
    • 70 Stanley Kauffmann
    The screenplay, by Lowell Ganz and Babaloo Mandel, based on a French film, has enough sharp gags and plot twists to sustain it, with an ending that manages to be nice.
    • 72 Metascore
    • 70 Stanley Kauffmann
    Admittedly, the setting does heighten interest, but this film is much more than an ideational travelogue.
    • 70 Metascore
    • 70 Stanley Kauffmann
    The cast is so good that a kind of counterpoint arises between the riskily lachrymose story and the firm verity of the acting.
    • 67 Metascore
    • 70 Stanley Kauffmann
    The most pleasant aspect of the picture is its relish of the moment in which it is set. Deville doesn't omit mention of the anti-Semitism in postwar France; still, this little tailoring shop is a good place to have reached after the preceding years.
    • 61 Metascore
    • 70 Stanley Kauffmann
    Overall Nina's Tragedies is another instance of a subject discussed here lately--a foreign film that is seen one way at home and another way abroad.
    • 71 Metascore
    • 70 Stanley Kauffmann
    It is the two leading performances that make the film seem almost to reach down and embrace us.
    • 70 Metascore
    • 70 Stanley Kauffmann
    LaBute's dialogue reminds us that, along with that of such others as Hal Hartley and Jim Jarmusch and Whit Stillman, the sheer writing, these days, of some American films is remarkably fine. LaBute has cast his film to match, with people who can handle his dialogue neatly. [31 August 1998, p. 28]
    • The New Republic
    • 83 Metascore
    • 70 Stanley Kauffmann
    Leigh's directing is lean and tight. In Imelda Staunton as Vera, he has an actress who can make her only two emotions interesting.

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