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 Brokeback Mountain
Lowest review score: 0 Miller's Crossing
Score distribution:
  1. Negative: 44 out of 456
456 movie reviews
    • 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
    • 65 Metascore
    • 80 Stanley Kauffmann
    A documentary, thoughtfully made.
    • 82 Metascore
    • 70 Stanley Kauffmann
    The present film-makers have retained the essences of the plot and characters but have moved the ambience toward the next stylistic era, romanticism.
    • 78 Metascore
    • 70 Stanley Kauffmann
    The picture tries hard for addictive mystery, but it is full of scenes that promise insight and don't deliver.
    • 90 Metascore
    • 70 Stanley Kauffmann
    To see the flight captain and co-pilot checking the plane before takeoff, to watch the varied passengers settling into their seats, is more agonizing than watching passengers board the ship in all those "Titanic" films. With United 93 we see these people unknowingly stepping into a history that is still in terrible process. But as a work in (let's call it) the Akhmatova mode, it does not and could not succeed.
    • 88 Metascore
    • 70 Stanley Kauffmann
    A slight conceptual nudge and Capote would have focused on (as the closing line tells us) its true subject: an American author's success story. That theme is there, all right, but because it is not centered it is repellent, as the film pretends to be an account of the author's descent into collateral agony...With the true theme of fame-hunger fully fashioned, the film would have been a more authentic American epic.
    • 78 Metascore
    • 70 Stanley Kauffmann
    Burns with sincerity and serious intent.
    • 74 Metascore
    • 70 Stanley Kauffmann
    At the last, My Mother's Smile conveys that, if Bellocchio is just doggedly hanging on to a career, he is still able to make us feel nostalgia for those high Italian days.
    • 65 Metascore
    • 70 Stanley Kauffmann
    All political thrillers, good or less good, have moral implications...Walk on Water, one of the better ones, has grave moral implications and does not ignore them or merely utilize them.
    • 61 Metascore
    • 70 Stanley Kauffmann
    Overall Nina's Tragedies is another instance of a subject discussed here lately--a foreign film that is seen one way at home and another way abroad.
    • 79 Metascore
    • 70 Stanley Kauffmann
    Jaoui directs with flow and affection, and she plays Sylvia sensitively. Bacri has the right middle-aged assortment of humors.
    • 58 Metascore
    • 70 Stanley Kauffmann
    The most important aspect of the stories about all five characters is the way they are told. Attal and his editor Jennifer Augé have found an attractive playful style: they never let the stories rest, almost juggling them, and keep them gamboling before us.
    • 82 Metascore
    • 70 Stanley Kauffmann
    Well-knit, generally lucid documentary.
    • 69 Metascore
    • 70 Stanley Kauffmann
    Crowe is, in his unique way, astonishing. Even at his biggest moments he seems both convincing and somewhat reticent.
    • 53 Metascore
    • 70 Stanley Kauffmann
    Unusually for a soap-bubble film, Après Vous runs almost two hours and very nearly sustains its length. Five minutes of condensation toward the end would have benefited it. But Salvadori floats everything, hammers nothing, and gets maximum buoyancy out of Camille Bazbaz's jaunty music.
    • 55 Metascore
    • 70 Stanley Kauffmann
    The fact that Pitt and Jolie have not been associated with this type of action is something of a help, but what was needed was the off-balance tickle that--to fantasize--Cary Grant and Rosalind Russell would have given it.
    • 82 Metascore
    • 70 Stanley Kauffmann
    The film is emotionally and visually sustained, so it is pleasant.
    • 80 Metascore
    • 70 Stanley Kauffmann
    The screenplay of Saraband feels concocted, not absorbed from life in sense and soul like so much of Bergman's work.
    • 67 Metascore
    • 70 Stanley Kauffmann
    In the leading role Michael Pitt is neither good nor less than good. He simply mopes along druggedly for the film's ninety-seven minutes. Van Sant's inculcation of this non-performance is clearly part of his dogged negativism, his intent to purge his film.
    • 72 Metascore
    • 70 Stanley Kauffmann
    What fascinates is, first, that these comics treat the joke the way jazz musicians might treat a theme that each of them plays differently; and, second, that the passage of this joke from one comic to another is like the bonding of a profession.
    • 80 Metascore
    • 70 Stanley Kauffmann
    Not many of us, I think, would want to see many films made this way, possibly not one more, but this one is an intriguing glance at the director-as-god, deigning to treat human frailty with imperial sway, assuming that his art justifies this slender material.
    • 64 Metascore
    • 70 Stanley Kauffmann
    To play for an audience of one that is only a few feet away is different in concentration and shade from playing in the theater, and Madden, though the script lags a bit, has nonetheless helped his actors to render what were once theater scenes as film sequences.
    • 82 Metascore
    • 70 Stanley Kauffmann
    All four of the roles are written with pungency. There is even an implication that the two adults realize the triteness of the situation and that they--the characters, not Baumbach--want to speak from inner sources, not from a script. Baumbach pulls this off with some sting and wit.
    • 68 Metascore
    • 70 Stanley Kauffmann
    But the contrast between setting and story isn't all that bars North Country from fulfillment. The major trouble is Theron. She plays Josey as well as is needed, but she is simply too beautiful.
    • 62 Metascore
    • 70 Stanley Kauffmann
    But the best of the story is that there isn't much--as such. A slice of living is put before us. Some things happen. That's all.
    • 70 Metascore
    • 70 Stanley Kauffmann
    The picture has enough good feeling and chuckle to take it out of the parochial.
    • 78 Metascore
    • 70 Stanley Kauffmann
    The Oxford English Dictionary says that an allegory is "an extended or continued metaphor." And to think that this definition was coined when a French film called Innocence was still very far in the future! But how aptly this film proves the point.
    • 76 Metascore
    • 70 Stanley Kauffmann
    This multiplicity--of people, stories, settings--is both the weakness and strength of the film. It is not easy to follow all the various threads, to get the pith of every scene. Still, this very abundance gives the whole picture a sense of authority.
    • 66 Metascore
    • 70 Stanley Kauffmann
    The real success of Duncan Tucker, who wrote and directed this debut feature, is that, through credible dialogue and sensitive performances, the basic idea overcomes its cleverness and is affecting.
    • 72 Metascore
    • 70 Stanley Kauffmann
    One aspect certainly is remarkable. The dialogue is, at least to an American ear, authentic. Allen doesn't mention any aid on the script, so we are to assume that he wrote it himself.

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