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 4.9 points higher than other critics. (0-100 point scale)

Stanley Kauffmann's Scores

  • Movies
Average review score: 64
Highest review score: 100 Since Otar Left
Lowest review score: 0 Hulk
Score distribution:
  1. Negative: 44 out of 456
456 movie reviews
    • 94 Metascore
    • 80 Stanley Kauffmann
    Whatever the news-linked reasons for its revival, Pontecorvo's film is wonderfully worth seeing, or re-seeing, for its own sake.
    • 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]
    • 85 Metascore
    • 80 Stanley Kauffmann
    The Coen brothers wrote McDormand’s role best. Much of the time they seem to have had “Pulp Fiction” in their ears--strings of incongruous banalities; but with this pregnant cop, they struck some gold of their own. [March 25, 1996]
    • 71 Metascore
    • 80 Stanley Kauffmann
    The plot that follows, including the wretched young woman who lost the house, is of interest only insofar as Kingsley supports the structure with a powerful man.
    • 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.
    • 85 Metascore
    • 80 Stanley Kauffmann
    Stands as a poignant marker in the career of a major artist.
    • 71 Metascore
    • 80 Stanley Kauffmann
    Smith makes it crackle, with various aggressive honesties and wit. [May 5, 1997}
    • 81 Metascore
    • 80 Stanley Kauffmann
    Cunningham's novel was helped by his prose, which curves gracefully in the historical present to unify the book in some degree. Stripped of that tegument, the film depends more blatantly on Woolf's fate to give it organism and depth.
    • 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.
    • 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]
    • 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
    • 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]
    • 61 Metascore
    • 80 Stanley Kauffmann
    Obviously the variety that was bound to result was part of Brigand's plan. The astonishment is that almost all of the assemblage is fascinating, very little is poor, and one segment is superb.
    • 78 Metascore
    • 80 Stanley Kauffmann
    It's not the most violent picture ever; what film could aspire to that title? But it's so well made, the violence is so gratuitous, and the general reception has been so delighted, that attention must be paid. [23 Nov 1992]
    • 82 Metascore
    • 80 Stanley Kauffmann
    The film, directed almost with fierceness by Kevin Macdonald, is a wondrous recreation of that physical adventure. The most profound element, the moral crux, is skimped, but I kept wondering, not so much about the actors who were playing Simpson and Yates, as about the cameramen who were photographing them on that icy face, possibly suspended while they were doing it.
    • 90 Metascore
    • 80 Stanley Kauffmann
    A prime candidate for a time capsule, to disclose a century hence the current state of some of our civilization's discontents, including the ability to be convinced that one is telling the truth even when one is lying.
    • 66 Metascore
    • 80 Stanley Kauffmann
    Much of the action is laugh-provoking, and even the plentiful violence is handled as comic by-play. The cast is revved up to sizzle, with Sting in a smallish role, and the thick cockney dialogue is more comprehensible than you might think.
    • 47 Metascore
    • 80 Stanley Kauffmann
    Fiennes has imagined and created from within. His Luther is not the thunderer we might expect, but he is, wondrously, the incarnation of a man passionate for God and angry with mundane intercessions.
    • 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.
    • 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?
    • 57 Metascore
    • 80 Stanley Kauffmann
    Two aspects stand out. Clint Eastwood is not the first person we might think of to direct a film of leisurely pace, concerned with ghosts and a transvestite...Then there's Kevin Spacey, who grows before our eyes. [29 December 1997, p. 28]
    • 66 Metascore
    • 80 Stanley Kauffmann
    The film was directed by John Curran who here does fine, close, and intimate "chamber" work. The cinematography by Maryse Alberti is of the most desirable kind: it creates mood and drama without ever being ostentatious about it. But it is the acting that truly realizes the film.
    • 76 Metascore
    • 80 Stanley Kauffmann
    The film leaves the viewer with an increased sense of Shepard's exceptional being and talent--a prime playwright of his time who, if he had so chosen, could also have been one of its leading film stars.
    • 75 Metascore
    • 80 Stanley Kauffmann
    Folke and Isak have nowhere near the dimensions of the pair in "Waiting for Godot" or in "Endgame," but on his level, Hamer follows Beckett's belief that, especially in an odd situation, two can make a multitude.
    • 66 Metascore
    • 80 Stanley Kauffmann
    Weitz's dialogue has sparkle and snap.
    • 82 Metascore
    • 80 Stanley Kauffmann
    Welcome to Yoji Yamada. After decades of comedies, he arrives--in this country, at least--with a uniquely touching samurai film. At the age of seventy-three, he starts a new career.
    • 77 Metascore
    • 80 Stanley Kauffmann
    Hanson's rendition is so engulfing that, for this middle-class white man at any rate, the moment after the film finished was like a return to familiar country.
    • 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.
    • 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.
    • 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]