Stanley Kauffmann

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For 456 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 2.8 points higher than other critics. (0-100 point scale)

Stanley Kauffmann's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Osama
Lowest review score: 0 Hulk
Score distribution:
  1. Negative: 44 out of 456
456 movie reviews
    • 67 Metascore
    • 90 Stanley Kauffmann
    It is Fellini's face that is peculiarly welcome, the face that -- in a probably fantasizing but pertinent way -- endorses his films.
    • 55 Metascore
    • 90 Stanley Kauffmann
    Ozpetek is an enriching director. More than a presentation of its contents, every scene seems also to be a distillation of the matters that led to it. He can take a somewhat worn device--moving the camera around his people as they talk--and make it savory.
    • 75 Metascore
    • 80 Stanley Kauffmann
    Nothing like a full picture of Che--nor of Granado and his eventual scientific career in Cuba, for that matter. But it exhilarates with the spirit of these young men in Act One of their lives.
    • 53 Metascore
    • 80 Stanley Kauffmann
    Its rich movie-ness is heightened by the talents involved. John Mortimer knows how to shape scenes with dialogue, much as painters know how to turn shapes with color. Zeffirelli, in his long career as designer and director of opera, theater, and film, has not been noted for restraint; yet here his directing is generally taciturn and implicative. [7 June 1999, p. 32]
    • The New Republic
    • 85 Metascore
    • 80 Stanley Kauffmann
    To name only one of its predecessors -- for me, the towering one -- doesn't "Schindler's List" do everything that Polanski achieves and more?
    • 78 Metascore
    • 80 Stanley Kauffmann
    Jacques Richard has fashioned an adoring tribute to this wonderfully maniacal man.
    • 65 Metascore
    • 80 Stanley Kauffmann
    The film holds us principally because of its Napoleon. Philippe Torreton doesn't perform the role: he exists.
    • 71 Metascore
    • 80 Stanley Kauffmann
    Green treats his people with affectionate knowledge, untinged with patronizing. And he sees them in ways that are free of cinematic cliché.
    • 76 Metascore
    • 80 Stanley Kauffmann
    [Reiner] pulls everything together adroitly to make Harry Met Sally a real refreshment. It's what they call a summer picture, which means that, if it's good as this one is-it will seem summery even in winter. [21 Aug 1989, p.26]
    • The New Republic
    • 69 Metascore
    • 80 Stanley Kauffmann
    Bellochio, who began his career in 1965, has made some of the most trenchant Italian films on political themes, and Good Morning, Night is one more of them.
    • 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.
    • 81 Metascore
    • 80 Stanley Kauffmann
    The picture holds us, not only through our wonderment at the mixture but through Serreau's dexterity and her casting.
    • 78 Metascore
    • 80 Stanley Kauffmann
    It's agreeable to see a picture that holds us without perspiring to do so. We are treated not as an audience but as café chums to whom a story is being told
    • 94 Metascore
    • 80 Stanley Kauffmann
    Payne's directing is alert, warm, patient. He knows that the surface must keep us interested until we go below it, and his confidence holds us.
    • 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.
    • 68 Metascore
    • 80 Stanley Kauffmann
    Twister is full of marvelous special effects. The story exists only to provide some respite between those marvels, like dialogue in an opera full of terrific arias. [10 June 1996, p.24]
    • The New Republic
    • 61 Metascore
    • 80 Stanley Kauffmann
    Frances McDormand plays the record-producing mother with the nativity that talent makes possible.
    • 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.
    • 70 Metascore
    • 80 Stanley Kauffmann
    The contrast between Holm's pearly speech and the dark things that he tells us and that we see almost outlines twentieth-century civilization, elevation and brutality at opposite ends of the spectrum.
    • 65 Metascore
    • 80 Stanley Kauffmann
    A documentary, thoughtfully made.
    • 90 Metascore
    • 80 Stanley Kauffmann
    Steven Spielberg's new film begins as a monumental epic; then it diminishes; and, by its finish, is baffling. [August 24, 1998]
    • The New Republic
    • 71 Metascore
    • 80 Stanley Kauffmann
    No element in the story, or collection of stories, has much novelty: yet the picture grips, because we sense that the director clearly knows he is treating familiar material and forges ahead out of passion.
    • 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.
    • 68 Metascore
    • 80 Stanley Kauffmann
    What Burger and his colleagues have done is to entrance us with a richly acted, beautifully produced story.
    • 67 Metascore
    • 80 Stanley Kauffmann
    But Anker's real success here is himself. He was obviously able to get these men and women to open up to him. And thus, quite obliquely, they remind us of a threat. As everyone knows, American symphony orchestras are in trouble. Attendance is dropping, and managements are trying various maneuvers, even stunts, to attract people.
    • 76 Metascore
    • 80 Stanley Kauffmann
    His performance here made me suspect that Schreiber is, in a sense, another Kenneth Branagh--an extraordinary actor who is simply not a film star.
    • 80 Metascore
    • 80 Stanley Kauffmann
    Noyce has treated this story almost like a page of holy writ. If he has erred, it is in the very awe of his approach.
    • 80 Metascore
    • 80 Stanley Kauffmann
    In this film the lovers are seeking the impossible through the possible. The knowledge of that impossibility makes the scenes all the more powerful. This is the core of Lawrence's novel, and Ferran has understood it.
    • 66 Metascore
    • 80 Stanley Kauffmann
    Even if this film were more gripping than it is, and it grips somewhat, it would be a bit disappointing because it aims so low. Let's hope that Branagh now has the Hollywood adoration out of his system. [16 Dec 1991, p.30]
    • The New Republic
    • 76 Metascore
    • 80 Stanley Kauffmann
    The name of Hugo Colace ought to be known to the film world. He is the cinematographer of an Argentinean film called Intimate Stories. Not since some Tibetan films have I seen such vastness, sparsely inhabited, almost ringing with immensity.

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