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

Stanley Kauffmann's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Since Otar Left
Lowest review score: 0 Miller's Crossing
Score distribution:
  1. Negative: 44 out of 456
456 movie reviews
    • 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
    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.
    • 67 Metascore
    • 70 Stanley Kauffmann
    But for those who can summon up the talismanic "what if," The American President provides chuckles and tingles, even a few sobs. [18 Dec 1995, p.28]
    • The New Republic
    • 79 Metascore
    • 70 Stanley Kauffmann
    Throughout the film a question tugs at the viewer. Kinsey's work was inarguably important, but his life is not especially interesting.
    • 76 Metascore
    • 70 Stanley Kauffmann
    Mathilde's story is well enough handled by Jeunet to be endurable, and the rest of the film is a reward.
    • 65 Metascore
    • 70 Stanley Kauffmann
    The finish is so asymmetrical that it, too, seems a comment on the kind of film this might once have been.
    • 55 Metascore
    • 70 Stanley Kauffmann
    The film is in one sense lifelike: in order to get the good, we have to endure the lesser.
    • 56 Metascore
    • 70 Stanley Kauffmann
    When a spectacular film rests on at least a minimal armature of character and cogent action, as Troy does, we can just sink back and enjoy. What we enjoy is the sovereignty over time and place and the force of gravity that film has given to the world.
    • 72 Metascore
    • 70 Stanley Kauffmann
    Sympathy for a pedophile is difficult, but surely comprehension may be possible, and Bacon evokes it.
    • 83 Metascore
    • 70 Stanley Kauffmann
    Leigh's directing is lean and tight. In Imelda Staunton as Vera, he has an actress who can make her only two emotions interesting.
    • 73 Metascore
    • 70 Stanley Kauffmann
    Softley worries a bit, quite unnecessarily, about keeping our interest; so he lays in a number of overhead shots and considerable zooming at the start of sequences. But his work with his cast is sure, except for the miscast Elliott, and he generates the right internal heat between the lovers.
    • 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
    • 66 Metascore
    • 70 Stanley Kauffmann
    Russell wants us to feel the itch of familiarity: it's part of his tonal plan. And he survives this structural hazard because he casts all the roles so well and gives his actors dialogue as fresh as the familiar situations would permit. [01 Aug 1994 Pg. 28]
    • The New Republic
    • 55 Metascore
    • 70 Stanley Kauffmann
    A bit scattery, but it simmers with Shicoff's intensity in lending his faith and being to the role.
    • 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.
    • 73 Metascore
    • 70 Stanley Kauffmann
    If only Cantet and Robin Campillo (who based their screenplay on stories by Dany Lafèrriere) had balanced the sexual and political elements more acutely, the result could have been searing.
    • 64 Metascore
    • 70 Stanley Kauffmann
    Especially in the moving moments, this film prods us into a kind of reproof. Kushner is now fifty, a prime writing age, and we want more.
    • 66 Metascore
    • 70 Stanley Kauffmann
    Burman is particularly good at the tiny details that become recognition points in daily patterns.
    • 71 Metascore
    • 70 Stanley Kauffmann
    It is the two leading performances that make the film seem almost to reach down and embrace us.
    • 70 Metascore
    • 70 Stanley Kauffmann
    A story that is still healthfully discomfiting to remember.
    • 56 Metascore
    • 70 Stanley Kauffmann
    And Jesus Ochoa, the veteran actor who plays Diego, makes us jealous of Mexico. How easily powerful he is, how complex without pretense.
    • 69 Metascore
    • 60 Stanley Kauffmann
    Haggis has made a safe picture. It is familiar enough that it slips easily into our film-watching faculty without any fuss, yet his handling of it--his muscular belief in what he is doing--makes us hope that his next screenplay will be a bit less safe.
    • 86 Metascore
    • 60 Stanley Kauffmann
    If we can watch this picture at all, it is because this universally admired person (Eastwood) is in it.
    • 58 Metascore
    • 60 Stanley Kauffmann
    Schreiber's directing is ambitious, but it is nowhere near the originality and truth in his acting. Throughout the film we can feel him striving to control, to invent, to glisten.
    • 63 Metascore
    • 60 Stanley Kauffmann
    The two leading actors in The Upside of Anger are so good that their performances, even more than the story they are in, keep us interested.
    • 67 Metascore
    • 60 Stanley Kauffmann
    Mondovino is repetitious. The version that is being shown here runs 131 minutes and would be more effective with about twenty minutes of condensation.
    • 59 Metascore
    • 60 Stanley Kauffmann
    Sternfeld not only deals empathically with his cast, he seems to know that his screenplay is not very novel or stirring; nonetheless, he wants to present these human beings in their skins, so to speak.
    • 72 Metascore
    • 60 Stanley Kauffmann
    He has had a notable career, and I wish there had been more specifics about it in the film.
    • 79 Metascore
    • 60 Stanley Kauffmann
    The five episodes in Broken Flowers are good enough to make us expect that the picture has a theme, but it hasn't.
    • 78 Metascore
    • 60 Stanley Kauffmann
    The story is multiplex and unclear.