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
    • 84 Metascore
    • 60 Stanley Kauffmann
    Throughout we keep waiting for the real Almodóvar film, and it never arrives.
    • 84 Metascore
    • 70 Stanley Kauffmann
    Demme's pacing is tight throughout, marred only by some low-angle close-ups of the cannibal that are right out of old Vincent Price thrillers. [Feb 18, 1991]
    • The New Republic
    • 84 Metascore
    • 30 Stanley Kauffmann
    As is frequently the case when there is public fuss about a film or play, the work itself is not very good.
    • 84 Metascore
    • 80 Stanley Kauffmann
    Every moment of Longley's film is interesting, and the more we watch, the more clearly we realize that the film cannot solve anything for us.
    • 83 Metascore
    • 20 Stanley Kauffmann
    Virtually everything that happens in Adaptation is almost juvenile showing off - daring to make a film that is in search of a script.
    • 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.
    • 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.
    • 83 Metascore
    • 20 Stanley Kauffmann
    The plot, the gags, the action are so stupid and strident, so unfunnily parodic, that the film's only interest is in wondering how they did it-the mix of animation and live action. [1 Aug 1988]
    • The New Republic
    • 83 Metascore
    • 50 Stanley Kauffmann
    What helps Pfeiffer most is the fact that though she is exceptionally pretty, she patently doesn't rely on her prettiness: she wants to act. But, with her Ellen, though we know what she means from moment to moment, we simply don't feel it... Winona Ryder is disastrously miscast. [18 Oct 1993, p.30]
    • The New Republic
    • 83 Metascore
    • 60 Stanley Kauffmann
    The film's title ought to be When We Were King's Pawns. Don King maximized the media circus aspects from the start, as the razzle-dazzle directing of Leon Gast, helped in the editing by Taylor Hackford and others, makes electrically clear.
    • 83 Metascore
    • 50 Stanley Kauffmann
    Two cheery notes: Nicolas Cage, as the erring brother, shows surprising signs of life, and Cher, as the erring fiancee, confounds those who swore she was a remote-control robot. [8 Feb 1988]
    • The New Republic
    • 83 Metascore
    • 90 Stanley Kauffmann
    Spider is not a pulse-quickening experience, but Fiennes's art makes it engrossing.
    • 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.
    • 83 Metascore
    • 70 Stanley Kauffmann
    As with much art of our time--music, painting, sculpture, theater--Caché in a certain way affronts us. Its deliberate contravention of our expectations, and not necessarily stodgy expectations, is part of its intent.
    • 83 Metascore
    • 80 Stanley Kauffmann
    Why was this film made after the homes had already been abolished? One reason, hardly trifling, is that it was made excellently. Thematically, however, it stings -- as a reminder that Catholicism is only one religion that is dominated by males and that this domination is proprietary.
    • 83 Metascore
    • 50 Stanley Kauffmann
    A new voyeurism has arisen in the last two decades or so, and Trainspotting caters to it--an addiction to addiction-watching. [August 19, 1996]
    • The New Republic
    • 82 Metascore
    • 70 Stanley Kauffmann
    Melancholy but enjoyable.
    • 82 Metascore
    • 30 Stanley Kauffmann
    At the last, we're left with a film that tries to doll up a conventional genre with hints of depth, hoping to disguise the cross-dressing by putting it in the shape of an epic. Murnau, Mizoguchi, Ford, even you authors of the Book of Genesis, rest easy. [12 Oct 1992]
    • The New Republic
    • 82 Metascore
    • 70 Stanley Kauffmann
    Well-knit, generally lucid documentary.
    • 82 Metascore
    • 70 Stanley Kauffmann
    Tsai's film is not free of longueurs, but like much modern work in almost every field, these stretches are deliberate assaults on conventional expectation.
    • 82 Metascore
    • 90 Stanley Kauffmann
    The cast could not -- one could almost say need not -- be improved.
    • 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.
    • 82 Metascore
    • 90 Stanley Kauffmann
    Loach's cast fits perfectly, and his directing has his usual extra tang of commitment. He provides almost a sensory response to his material: we seem to feel the textures and scent the air.
    • 82 Metascore
    • 70 Stanley Kauffmann
    The present film-makers have retained the essences of the plot and characters but have moved the ambience toward the next stylistic era, romanticism.
    • 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.
    • 82 Metascore
    • 100 Stanley Kauffmann
    What an extraordinary idea it was to make this film. What a splendid achievement.
    • 82 Metascore
    • 100 Stanley Kauffmann
    In every aspect, his film is superbly made.
    • 82 Metascore
    • 80 Stanley Kauffmann
    The film, directed almost with fierceness by Kevin Macdonald, is a wondrous recreation of that physical adventure. The most profound element, the moral crux, is skimped, but I kept wondering, not so much about the actors who were playing Simpson and Yates, as about the cameramen who were photographing them on that icy face, possibly suspended while they were doing it.
    • 82 Metascore
    • 70 Stanley Kauffmann
    The film is emotionally and visually sustained, so it is pleasant.
    • 82 Metascore
    • 50 Stanley Kauffmann
    Still, it never quite realizes the oneiric quality because, paradoxically, of its best achievement--the performances of the two boys. They are vital, insistent. Their beings contradict the dreaminess and make us ask the questions mentioned above.

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