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 Before Sunset
Lowest review score: 0 Miller's Crossing
Score distribution:
  1. Negative: 44 out of 456
456 movie reviews
    • 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.
    • 68 Metascore
    • 80 Stanley Kauffmann
    Like Ceylan--like many a fine director--Coixet has made her film less as a drama than as the traversal of a state of mind, a mood.
    • 81 Metascore
    • 80 Stanley Kauffmann
    Sissako makes his point: Africa's best treasure is its humanity.
    • 55 Metascore
    • 80 Stanley Kauffmann
    It is too weak to say that Herzog disregards conventions of narrative structure and editing: he is there to punish us for attending his film and to make us enjoy it. Other directors have at times made masochists of us: Herzog excels at this, and he doesn't often do it more stunningly than in Cobra Verde.
    • 78 Metascore
    • 80 Stanley Kauffmann
    Bier directs with a sense of motion, pleasant without pushing. Mads Mikkelsen, who plays Jacob, is an actor who absolutely belongs on the screen, a gentler sort of Jack Palance.
    • 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.
    • 57 Metascore
    • 80 Stanley Kauffmann
    Moreau's face is the base and the beauty of the film.
    • 79 Metascore
    • 80 Stanley Kauffmann
    So the monstrous twentieth century recedes into libraries; and so a small cog in the mechanism of that monstrosity bequeaths us her memory of it in a quiet, measured way.
    • 61 Metascore
    • 80 Stanley Kauffmann
    Frances McDormand plays the record-producing mother with the nativity that talent makes possible.
    • 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.
    • 81 Metascore
    • 80 Stanley Kauffmann
    Grant does have charm, wit and intelligence, displayed through subtlety of inflection, timing and an ability to convey unspoken thoughts between utterances. That's quite a good deal. [April 4, 1994]
    • The New Republic
    • 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.
    • 53 Metascore
    • 80 Stanley Kauffmann
    This French pastry, directed by Danièle Thompson, who wrote it with her son Christopher, is a meet-cute comedy in excelsis. Or very near excelsis.
    • 66 Metascore
    • 80 Stanley Kauffmann
    But conventional though the patterns are, the dialogue, in black and Latino lingo, is topically hot and is heated further by contemporary street naturalism, which in fact is less "natural" than consciously theatrical; so the familiarity of the story is disguised by the crackle of the production. [16 May 1988]
    • The New Republic
    • 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
    [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
    • 76 Metascore
    • 80 Stanley Kauffmann
    As Blank, Cusack is both proud and remorseful. And the amazing thing is that as usual, you believe him. [Oct 10, 1997]
    • The New Republic
    • 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
    • 71 Metascore
    • 80 Stanley Kauffmann
    It lets us glimpse once again the stubborn, if slender, persistence of the humane.
    • 77 Metascore
    • 80 Stanley Kauffmann
    It is his best and most courageous work to date. [13 Nov 1989, p. 22]
    • The New Republic
    • 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.
    • 75 Metascore
    • 80 Stanley Kauffmann
    The film's ultimate flaw is in its futility. It cannot really prod us to any effect. What can we do about such situations? Many, many documentaries and fictional films expose injustices or inequities that can be addressed.
    • 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
    • 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.
    • 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.
    • 71 Metascore
    • 80 Stanley Kauffmann
    Australian "Westerns" occur. An exceptional one is The Tracker, which has the shape of an offbeat American Western and seems at first a sort of Down Under copy. But it develops characters and relationships that are indigenous.
    • 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.
    • 79 Metascore
    • 80 Stanley Kauffmann
    Mamet's real triumph, however, is in his directing. Like every good director, he has "seen" the picture before he made it; and he saw it as a piece with the intimacy and physicality of a play that nonetheless flowed like cinema.
    • 76 Metascore
    • 80 Stanley Kauffmann
    Moncrieff's insistence on her subject suggests conviction -- about her contribution and about her cast. Both beliefs are pretty much justified.
    • 76 Metascore
    • 80 Stanley Kauffmann
    Spielberg directs so fluently that it takes a while to perceive how well made the film is.

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