The New Republic's Scores

  • Movies
  • TV
For 466 reviews, this publication has graded:
  • 39% higher than the average critic
  • 2% same as the average critic
  • 59% lower than the average critic
On average, this publication grades 1.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Titanic
Lowest review score: 0 Miller's Crossing
Score distribution:
  1. Negative: 45 out of 466
466 movie reviews
  1. What is outstandingly incredible are the high-flown pronouncements, including literary judgments, given suddenly to Costner. They make him sound like a dummy for Shelton the ventriloquist. [1 Aug 1988]
    • The New Republic
  2. Its very existence as a film sets up expectations that wouldn't exist within a book -- another reason I'd bet that there would be more pleasure in reading the screenplay. I can't remember ever thinking that previously about a film. (1998 May 23, p. 26)
    • The New Republic
  3. But conventional though the patterns are, the dialogue, in black and Latino lingo, is topically hot and is heated further by contemporary street naturalism, which in fact is less "natural" than consciously theatrical; so the familiarity of the story is disguised by the crackle of the production. [16 May 1988]
    • The New Republic
  4. Two cheery notes: Nicolas Cage, as the erring brother, shows surprising signs of life, and Cher, as the erring fiancee, confounds those who swore she was a remote-control robot. [8 Feb 1988]
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  5. After years of preparation in the hands of a man celebrated for his penetration and style, the picture adds almost nothing to our knowledge of its subject and adds it in a manner almost devoid of visual distinction. [27 July 1987]
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  6. Bonham Carter is like an undergraduate in a university production who seems rather good considering that her performance is only an intelligent diversion while she prepares herself for a career in another field. [24 Mar 1986]
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  7. 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]
    • The New Republic
  8. Brazil doesn't add up to much, not only because its cautionary tales are familiar, but because it has no real point of view, nothing urgent under its facile symbols. And the story winds on and on looking for a finish. Three or four times I reached for my coat prematurely. [17 Feb 1986, p.26]
    • The New Republic
  9. The surprise in Jaws 2 is that, given the givens, it came out as well as it did. For me, in terms of sheer visceral zapping, it’s better than the first time around (or under).
  10. In the first 30 seconds, this film gets off on the wrong foot and, although there are plenty of clever effects and some amusing spots, it never recovers. Because this is a major effort by an important director, it is major disappointment...What is most shocking is that Kubrick’s sense of narrative is so feeble.
    • 87 Metascore
    • 90 Critic Score
    Despite the thinness of the final gesture, The Bridge remains an engrossing and stirring movie. Amazingly, it allows an American to feel patriotic about the British, and that is because it is not, thank God, patriotic about patriotism. Rather it represents the limitations of moral and national passion is well as its glories, and consequently makes patriotism, courage, and pride human possibilities.
    • 98 Metascore
    • 90 Critic Score
    What makes the picture seem so good (what makes it eminently worth seeing) is the satirical touches in its detail and the performance of Bette Davis.
    • 89 Metascore
    • 40 Critic Score
    Capra is an old-time movie craftsman, the master of every trick in the bag, and in many ways he is more at home with the medium than any other Hollywood director. But all of his details give the impression of contrived effect...To make his points he always takes an easy, simple-minded path that doesn’t give much credit to the intelligence of the audience.
    • 96 Metascore
    • 90 Critic Score
    The Maltese Falcon is the first crime melodrama with finish, speed and bang to come along in what seems ages, and since its pattern is one of the best things Hollywood does, we have been missing it.
    • 95 Metascore
    • 100 Critic Score
    The word that comes in most handily for The Grapes of Wrath is magnificent. Movies will probably go on improving and broadening themselves; but in any event, The Grapes of Wrath is the most mature picture story that has ever been made, in feeling, in purpose, and in the use of the medium. You can drag out classics (it is often safer not to go back and see them) and you can roll off names in different tongues and times. But this is a best that has no very near comparison to date.
    • 73 Metascore
    • 40 Critic Score
    Clumsy and irritating.

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