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 Titanic
Lowest review score: 0 Hulk
Score distribution:
  1. Negative: 44 out of 456
456 movie reviews
    • 89 Metascore
    • 80 Stanley Kauffmann
    Like some wines, The Best of Youth travels well. From its earliest moments the film is intelligently seen.
    • 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.
    • 61 Metascore
    • 80 Stanley Kauffmann
    The film is old-fashioned because it exists. No one, to use an ever-dubious line, makes films like this anymore.
    • 84 Metascore
    • 80 Stanley Kauffmann
    Both these stories, which of course develop further, are more engaging than they may sound, because Desplechin directs them so intelligently and because they are so well acted.
    • 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.
    • 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.
    • 79 Metascore
    • 80 Stanley Kauffmann
    Extraordinary--vivid, stripped, intense.
    • 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.
    • 64 Metascore
    • 80 Stanley Kauffmann
    A lively, long, intelligent documentary.
    • 78 Metascore
    • 80 Stanley Kauffmann
    Jacques Richard has fashioned an adoring tribute to this wonderfully maniacal man.
    • 71 Metascore
    • 80 Stanley Kauffmann
    Even though no reasonably well-informed viewer will learn much factual information from the picture, it grips; it even torments, because it lets us move and breathe and shiver and resolve with two particular young men.
    • 67 Metascore
    • 80 Stanley Kauffmann
    The chief reason that we feel generous toward the film is Bullock herself. She tickles. All the others are good, especially Pullman and Gallagher, but she's the one we want to spend time with. [22 May 1995, Pg.28]
    • The New Republic
    • 58 Metascore
    • 80 Stanley Kauffmann
    The daring achievement of Jarhead is that it is not a film about war, about combat: it is about being a soldier.
    • 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.
    • 59 Metascore
    • 80 Stanley Kauffmann
    It is the central performance that holds us. Cillian Murphy glows.
    • 80 Metascore
    • 80 Stanley Kauffmann
    Sitting in front of Tristram Shandy for an hour and a half lets us enjoy the fact that, smooth though its making is, the picture is winking at us.
    • 70 Metascore
    • 80 Stanley Kauffmann
    Like an old-fashioned theater program, it tells you early on who and what each of its characters is--and so they prove to be, enjoyably. [10 Apr 1995 Pg.30]
    • The New Republic
    • 68 Metascore
    • 80 Stanley Kauffmann
    Holofcener's new film is extraordinary: it engages us from beginning to end without strong narrative, or narratives. It lives through the quality of Holofcener's dialogue and the performances that she has drawn from her actors.
    • 70 Metascore
    • 80 Stanley Kauffmann
    As directors, Harari and De Pelegri have just the right light-fingered glissando touch. Not a moment sags. Their cast relishes and fulfills the tempo.
    • 74 Metascore
    • 80 Stanley Kauffmann
    Chabrol insured the power of this dangerously difficult film with perfect casting. The two lovers are so well acted that their story--and its finish--are incredibly convincing.
    • 68 Metascore
    • 80 Stanley Kauffmann
    What Burger and his colleagues have done is to entrance us with a richly acted, beautifully produced story.
    • 71 Metascore
    • 80 Stanley Kauffmann
    This is the fourth film directed and at least co-written by Beauvois. (He has acted in a number of pictures, including a previous one of his own, and he is in Le Petit Lieutenant for a while.) He is a clean and sure director, with a good selective eye: he knows where we ought to be looking at any moment. We can hope for more Beauvois films with worlds of their own.
    • 91 Metascore
    • 80 Stanley Kauffmann
    Whatever the virtues of The Queen--and it certainly has them--it simply would not exist without Mirren.
    • 84 Metascore
    • 80 Stanley Kauffmann
    The segments are so cleverly arranged--Apted includes past pictorial references for each of the people we revisit--that now there is something almost mystical involved. It is as if a wizard were giving us an overview of forty-two years that mortals were possibly not meant to see.
    • 69 Metascore
    • 80 Stanley Kauffmann
    An engrossing documentary.
    • 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.
    • 65 Metascore
    • 80 Stanley Kauffmann
    A documentary, thoughtfully made.
    • 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.

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