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 Brassed Off
Lowest review score: 0 Miller's Crossing
Score distribution:
  1. Negative: 44 out of 456
456 movie reviews
    • 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.
    • 73 Metascore
    • 70 Stanley Kauffmann
    Wade, presumably with Nichols's urging and aid, has tricked up most of the picture with plotting that scuttles the realism of the beginning, strangles any serious view of the theme, and ends up ludicrously incredible. [30 Jan 1989, p.28]
    • 64 Metascore
    • 70 Stanley Kauffmann
    Like many other Iranian films, Blackboards counters the generally broadcast ideas about this part of the world. It is a testament of quiet endurance, of common concern, of reconciled survival.
    • 75 Metascore
    • 70 Stanley Kauffmann
    Beatty himself is high wattage, revved up, sharp in his comic timing, gleaming with eagerness to put his film across. As director, he carries on from where he left off in “Reds;” he is sure and fluent, and occasionally he tips his hat to the past. [June 8, 1998]
    • 70 Metascore
    • 70 Stanley Kauffmann
    The result is glib, often funny, sometimes bumpy, and ultimately depressing.
    • 77 Metascore
    • 70 Stanley Kauffmann
    Still, flaws and all, we have to be grateful to Nunez for persisting in his independence.
    • 80 Metascore
    • 70 Stanley Kauffmann
    Tornatore has learned much from Fellini--especially in the long shots where someone suddenly appears close up. Let's hope he moves on to his own style. Meanwhile, he has given us a nice bask in Sicilian warmth. [Feb. 19, 1990]
    • 79 Metascore
    • 70 Stanley Kauffmann
    Nolte and Coburn are so powerful that they distort what, we are told, is the story's theme. [Feb. 1, 1999]
    • 48 Metascore
    • 70 Stanley Kauffmann
    The screenplay, by Lowell Ganz and Babaloo Mandel, based on a French film, has enough sharp gags and plot twists to sustain it, with an ending that manages to be nice.
    • 51 Metascore
    • 70 Stanley Kauffmann
    No one is expected to believe Pretty Woman . We're just supposed to enjoy it... Pretty Woman wants only to engage us for two hours, and it does. [16 Apr 1990, p.26]
    • 91 Metascore
    • 70 Stanley Kauffmann
    There's a great deal in black America that has yet to reach the screen, and Lee is a prime candidate, in gift and gall, to help fill the gap. [July 3, 1989]
    • 76 Metascore
    • 70 Stanley Kauffmann
    It has almost no story: its claim on our interest is in the texture of family life, which is what really fills the screen.
    • 86 Metascore
    • 70 Stanley Kauffmann
    Substantively there is no content. Everything we see or hear engages us only as part of a directorial tour de force. That force is exceptional, but since there is not much more to the picture, it leaves us hungry.
    • 78 Metascore
    • 70 Stanley Kauffmann
    A binding strength of the film is the performance of Choi Min-Sik as Ohwon: far from any fake-Barrymore antics, he makes us feel that we are intruding on the heat and genius of a man for whom life -- existence as is possible in the world -- is insufficient.
    • 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]
    • 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]
    • 66 Metascore
    • 70 Stanley Kauffmann
    It's relatively easy to convey the claustral in interior scenes, but [designer] Furst and the director Tim Burton do it even when the setting is a great flight of steps before the municipal building or the huge square where Batman and the joker confront each other. [31 July 1989, p.24]
    • 90 Metascore
    • 70 Stanley Kauffmann
    At least we know this Allen persona, whatever his current name; the other characters, starting from scratch, don't get much past scratch. Although the picture spreads its attention fairly evenly among them, most of them end up as supporting cast because they are only life-size puppets. [Feb 10, 1986]
    • 94 Metascore
    • 70 Stanley Kauffmann
    But the way that this picture has been so widely ravened up and drooled over verges on the disgusting. Pulp Fiction nourishes, abets, cultural slumming. [14 Nov 1994]
    • 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.
    • 72 Metascore
    • 70 Stanley Kauffmann
    This is a fictional film, but it is based on a novel by Stefanie Zweig that is autobiographical. The adaptation was done by the director Caroline Link, whose screenplay is serviceable and whose directing is generally sure.
    • 67 Metascore
    • 70 Stanley Kauffmann
    The latest Chabrol is a bit bland, but by now a new film of his is almost like meeting a previously unencountered family member.
    • 55 Metascore
    • 70 Stanley Kauffmann
    The film is in one sense lifelike: in order to get the good, we have to endure the lesser.
    • 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.
    • 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.
    • 70 Metascore
    • 70 Stanley Kauffmann
    The story of the film is a quiet local tale; the directing is sophisticated.
    • 67 Metascore
    • 70 Stanley Kauffmann
    Menachem Daum and Oren Rudavsky succeed. Their documentary Hiding and Seeking: Faith and Tolerance After the Holocaust is, of all things, timely. It is also courageous.
    • 70 Metascore
    • 70 Stanley Kauffmann
    LaBute's dialogue reminds us that, along with that of such others as Hal Hartley and Jim Jarmusch and Whit Stillman, the sheer writing, these days, of some American films is remarkably fine. LaBute has cast his film to match, with people who can handle his dialogue neatly. [31 August 1998, p. 28]
    • 55 Metascore
    • 70 Stanley Kauffmann
    Cuadron, at the helm, wanted to pitch his film in a terrain accessible to modern sensibility yet different from what that sensibility is generally fed. And he might have succeeded, except for his casting. [2 March 1998, p. 26]