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 Sex, Lies, and Videotape
Lowest review score: 0 Miller's Crossing
Score distribution:
  1. Negative: 44 out of 456
456 movie reviews
    • 72 Metascore
    • 60 Stanley Kauffmann
    He has had a notable career, and I wish there had been more specifics about it in the film.
    • 86 Metascore
    • 60 Stanley Kauffmann
    To Van Sant's credit, let's note that he has evoked more lightness and variety from Kidman, more scrimshaw gesture and inflection than I thought she could muster. [23 Oct 1995]
    • The New Republic
    • 55 Metascore
    • 60 Stanley Kauffmann
    Eloy de la Iglesia, who directed Bulgarian Lovers, has a light and witty touch, reminiscent of his countryman Pedro Almodóvar...But he needed a better screenplay.
    • 16 Metascore
    • 60 Stanley Kauffmann
    What matters much more than the story or the Spicy Stuff is the dancing, the show-biz dancing. It's electric. Exciting. And there's lots of it. [23 Oct 1995]
    • The New Republic
    • 65 Metascore
    • 60 Stanley Kauffmann
    The film is merely a succession of odd events. But those events are interesting, and the texture of the village's life is full-fashioned.
    • 65 Metascore
    • 60 Stanley Kauffmann
    The pace is fairly hectic, which it needs to be. (Mustn't linger on bubbles.) The performances are warm, especially the tender Judith Godrèche as the doctor's wife.
    • 75 Metascore
    • 60 Stanley Kauffmann
    It is kept listenable--and watchable--because Bourdieu uses his knowledge of these people with winning ease. The story's conclusion verges on the grim, and it underscores Bourdieu's presumable theme: student life and talk are the last real vacations in many lives.
    • 47 Metascore
    • 60 Stanley Kauffmann
    None of the people in the film is realized as a character: Cronenberg has no interest in character. Each person is given a dab of characteristics and is then sent off to copulate. [21Apr1997 Pg 26]
    • The New Republic
    • 79 Metascore
    • 60 Stanley Kauffmann
    The five episodes in Broken Flowers are good enough to make us expect that the picture has a theme, but it hasn't.
    • 58 Metascore
    • 60 Stanley Kauffmann
    Schreiber's directing is ambitious, but it is nowhere near the originality and truth in his acting. Throughout the film we can feel him striving to control, to invent, to glisten.
    • 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
    • 60 Metascore
    • 60 Stanley Kauffmann
    Mamet's understanding of the essentials here and his skill in supplying them are not major achievements for him, but it would be wasteful not to recognize them. Spartan is another feather, though a small one, in his cap.
    • 79 Metascore
    • 60 Stanley Kauffmann
    It is easy to point out gaps in Noujaim's account. (What, for instance, about the rebuilding that tries to go forward in Iraq?) But the prime importance of this film, I'd say, is that it is not an eye-opener. Of course this change in reporting, this bilateralism, has occurred so far only in wars where the U.S. was the overwhelming superior in force.
    • 53 Metascore
    • 60 Stanley Kauffmann
    As in all fiercely realistic thrillers, the action becomes less and less credible as it speeds on. But, as with some such thrillers, we tolerate the incredible as the price of the pulse-quickening.
    • 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.
    • 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
    • 55 Metascore
    • 50 Stanley Kauffmann
    Patently intended to be a serious exploration of a cultural encounter, but this intent withers through a lack of writers' gravity and a mass of action clichés.
    • 79 Metascore
    • 50 Stanley Kauffmann
    To read a Carver collection is to walk through a gallery of beautifully formed objects. To blend his stories into "soup," no matter how smartly, to see them "as just one story," is to vandalize good art, to rationalize filmic opportunism as aesthetic principle. [25 Oct 1993]
    • The New Republic
    • 62 Metascore
    • 50 Stanley Kauffmann
    Everything falls into place, click click click. Like many a formulaic piece, this one engages a real theme--here it's the conflict between the concept of duty and the idea of the individual--and does little with it. [25 Jan 1993]
    • The New Republic
    • 65 Metascore
    • 50 Stanley Kauffmann
    Martin himself still seems to be filing in at run-throughs for the real star who couldn't make rehearsals. [11 March 1991, p.28]
    • The New Republic
    • 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.
    • 68 Metascore
    • 50 Stanley Kauffmann
    The Good Thief merely adds a new tinct to the pathos of Jordan's career. Once again we see a director who is better than anything he has so far done.
    • 43 Metascore
    • 50 Stanley Kauffmann
    One reasonably dependable pleasure in Woody Allen's films is that he uses old-time songs, in moderately jazzed-up versions, on his soundtracks.
    • 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.
    • 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.
    • 78 Metascore
    • 50 Stanley Kauffmann
    The script is a tidy work of carpentry, in several time planes and with a tart finish. Tense moments abound, fights and shootings and near-drownings, but they seem items drawn from casework files. [5 Aug 1996, p.26]
    • The New Republic
    • 37 Metascore
    • 50 Stanley Kauffmann
    The film isn't dreadful: it is just generally disappointing.
    • 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.
    • 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.
    • 61 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

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