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
    • 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
    • 74 Metascore
    • 50 Stanley Kauffmann
    The disaster is John Malkovich in the key role of Valmont... From the moment he steps out of a carriage at the start, he walks and gestures like Malkovich. He has done nothing to bring himself to the part, not even bothering to learn how to pronounce "mademoiselle." ("Madam-uhzell," says M.) [2 Jan 1989, p.24]
    • The New Republic
    • 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
    • 74 Metascore
    • 20 Stanley Kauffmann
    So this is not, as vaunted, a documentary about a film destroyed by temperaments and tizzies. It is the account of a medical catastrophe that could have spoiled the opening of a supermarket.
    • 74 Metascore
    • 50 Stanley Kauffmann
    Lynn Redgrave is nearly incomprehensible as the housekeeper with some sort of housekeeperly accent. [Dec. 14, 1998]
    • The New Republic
    • 74 Metascore
    • 70 Stanley Kauffmann
    At the last, despite the modern touches in Bennett's screenplay, The History Boys fills the traditional bill. Wellington would probably not be too upset by it. Eventually it tells us that Waterloo is still in pretty good hands.
    • 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.
    • 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.
    • 73 Metascore
    • 80 Stanley Kauffmann
    The film is remarkable for something besides its visual immersion in gold. The director, Gabriele Salvatores, has added his name to the roster of film-makers who have drawn remarkable acting from children.
    • 73 Metascore
    • 70 Stanley Kauffmann
    If only Cantet and Robin Campillo (who based their screenplay on stories by Dany Lafèrriere) had balanced the sexual and political elements more acutely, the result could have been searing.
    • 73 Metascore
    • 70 Stanley Kauffmann
    This picture is an odd misadventure: a gigantic enterprise that, despite some quite exceptional filming, is thwarted by its two leading actors.
    • 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
    • 73 Metascore
    • 50 Stanley Kauffmann
    Formally, Boyz is just one more old-time bad-neighborhood picture. Instead of, say, Manhattan's Lower East Side in Prohibition days, it's an LA lower-middle-class black neighborhood afflicted with drugs. And Singleton's control of his picture's flow is much less firm than was the other directors'. [2 Sept 1991]
    • The New Republic
    • 73 Metascore
    • 40 Stanley Kauffmann
    What is outstandingly incredible are the high-flown pronouncements, including literary judgments, given suddenly to Costner. They make him sound like a dummy for Shelton the ventriloquist. [1 Aug 1988]
    • The New Republic
    • 73 Metascore
    • 70 Stanley Kauffmann
    Embedded here in a culture of formalities, with some of the arcs and gestures of that culture, it almost becomes an opera of its own.
    • 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.
    • 72 Metascore
    • 70 Stanley Kauffmann
    Admittedly, the setting does heighten interest, but this film is much more than an ideational travelogue.
    • 72 Metascore
    • 80 Stanley Kauffmann
    Murray, more often than not, is pretty unbearable; but here, playing a man who is unbearable, Murray begins convincingly, amusingly, and gets even more amusing as he metamorphoses. [15 Mar 1993, p.24]
    • The New Republic
    • 72 Metascore
    • 80 Stanley Kauffmann
    The most enchanting point about cinematographer Eduardo Serra work here is that he hasn't put Vermeer's painting into the film; he has put the film into Vermeer.
    • 72 Metascore
    • 80 Stanley Kauffmann
    Aesop endowed animals with human traits to teach us lessons. Seabiscuit almost does the reverse. By means of Ross's adroit shooting and editing, we ourselves pound bravely along the track.
    • 72 Metascore
    • 90 Stanley Kauffmann
    The insinuating quality of 3-Iron is irresistible.
    • 72 Metascore
    • 60 Stanley Kauffmann
    The war is not scanted: the devastation and butchery are there. But the screenplay by Frank Cottell Boyce, based on a non-fiction account by Michael Nicholson, is thin, sentimental. [29Dec1997 Pg. 28]
    • The New Republic
    • 72 Metascore
    • 80 Stanley Kauffmann
    The opening minutes in a Union Army camp are as good as anything in Glory; and the buffalo hunt, as edited by Travis, is a marvel. [10 Dec 1990, p.28]
    • The New Republic
    • 72 Metascore
    • 60 Stanley Kauffmann
    He has had a notable career, and I wish there had been more specifics about it in the film.
    • 72 Metascore
    • 70 Stanley Kauffmann
    What fascinates is, first, that these comics treat the joke the way jazz musicians might treat a theme that each of them plays differently; and, second, that the passage of this joke from one comic to another is like the bonding of a profession.
    • 72 Metascore
    • 80 Stanley Kauffmann
    This film holds and convinces, even evokes empathy, because of Anne Reid, an actress long experienced in British television and film. She gives May intelligence and spirit and a somewhat genteel wonder at the resurging of desire.
    • 72 Metascore
    • 60 Stanley Kauffmann
    The flaw that separates Scorsese's film into its components is its lack of a crystallized theme.
    • 72 Metascore
    • 70 Stanley Kauffmann
    This is a fictional film, but it is based on a novel by Stefanie Zweig that is autobiographical. The adaptation was done by the director Caroline Link, whose screenplay is serviceable and whose directing is generally sure.
    • 72 Metascore
    • 70 Stanley Kauffmann
    Sympathy for a pedophile is difficult, but surely comprehension may be possible, and Bacon evokes it.
    • 72 Metascore
    • 70 Stanley Kauffmann
    One aspect certainly is remarkable. The dialogue is, at least to an American ear, authentic. Allen doesn't mention any aid on the script, so we are to assume that he wrote it himself.

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