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 4.4 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
    • 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
    • 61 Metascore
    • 70 Stanley Kauffmann
    Whatever the outcome of all this hugger-mugger, as yet unresolved, Stolen gives us hints about a special sort of muscle.
    • 55 Metascore
    • 70 Stanley Kauffmann
    It has long been clear that Shepard is a rare double talent. He has flourished, rightly, as a playwright, and he is also a compelling film actor. His face does more for the reality of this picture than anything he wrote in the script.
    • 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.
    • 81 Metascore
    • 70 Stanley Kauffmann
    The son has served the father well, though he faced an odd difficulty: the architect's life was so unusual that his son's understandable absorption with it steals a bit of time from his treatment of the work.
    • 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.
    • 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.
    • 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.
    • 68 Metascore
    • 70 Stanley Kauffmann
    The result is a picture that, moving through political and social chaos, is stubbornly amusing.
    • 64 Metascore
    • 70 Stanley Kauffmann
    Harron's work here is unclear in its theme or purpose. Was she showing how a woman managed to find a woman's way to success in a man's world? Was Harron interested in Page's delusion about what she was doing? Or did she want to scoff implicitly at the customers who made Page's career possible? We are left wondering.
    • 69 Metascore
    • 70 Stanley Kauffmann
    Crowe is, in his unique way, astonishing. Even at his biggest moments he seems both convincing and somewhat reticent.
    • 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.
    • 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.
    • 73 Metascore
    • 70 Stanley Kauffmann
    Embedded here in a culture of formalities, with some of the arcs and gestures of that culture, it almost becomes an opera of its own.
    • 64 Metascore
    • 70 Stanley Kauffmann
    Precisely the point of films in this genre is to provide pleasant predictability. We collaborate, in a way: we chuckle silently as, so to speak, we make the film ourselves.
    • 84 Metascore
    • 70 Stanley Kauffmann
    Demme's pacing is tight throughout, marred only by some low-angle close-ups of the cannibal that are right out of old Vincent Price thrillers. [Feb 18, 1991]
    • The New Republic
    • 63 Metascore
    • 70 Stanley Kauffmann
    What Radford has retained of the original, he treats warmly and intelligently, and with a few welcome surprises in the acting. But he has produced a different work, moderately successful in itself, out of materials provided by Shakespeare.
    • 65 Metascore
    • 70 Stanley Kauffmann
    It is echt Maugham, in its somehow flattering cynicism, its character crinkles, its perceptions that sting even though they don't go very deep.
    • 60 Metascore
    • 70 Stanley Kauffmann
    Andy Garcia, who first became noticeable in The Untouchables, has seductive strength, homicidal cool. One reason to look forward to Part IV is that he'll fill the center better than Pacino does. [21 Jan 1991, p.26]
    • The New Republic
    • 73 Metascore
    • 70 Stanley Kauffmann
    This picture is an odd misadventure: a gigantic enterprise that, despite some quite exceptional filming, is thwarted by its two leading actors.
    • 63 Metascore
    • 70 Stanley Kauffmann
    Here is a film that carries within itself not only the parody but the very material it exploits and subverts. [05 Sept 1994 Pg. 34]
    • The New Republic
    • 76 Metascore
    • 70 Stanley Kauffmann
    Sophie Scholl is not as devastatingly moving as "The White Rose," but it, too, evokes awe in lesser beings.
    • 82 Metascore
    • 70 Stanley Kauffmann
    Tsai's film is not free of longueurs, but like much modern work in almost every field, these stretches are deliberate assaults on conventional expectation.
    • 69 Metascore
    • 70 Stanley Kauffmann
    As the picture winds on, the feeling grows that Saleem, who clearly knows these people, wants to show that their mode of life in this stark setting has, in a gentle way, a touch of the ridiculous.
    • 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.
    • 70 Metascore
    • 70 Stanley Kauffmann
    The picture has enough good feeling and chuckle to take it out of the parochial.
    • 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.
    • 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.
    • 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.

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