The New Republic's Scores

  • Movies
  • TV
For 458 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 1.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Boogie Nights
Lowest review score: 0 Hulk
Score distribution:
  1. Negative: 44 out of 458
458 movie reviews
  1. It is Fellini's face that is peculiarly welcome, the face that -- in a probably fantasizing but pertinent way -- endorses his films.
  2. Ozpetek is an enriching director. More than a presentation of its contents, every scene seems also to be a distillation of the matters that led to it. He can take a somewhat worn device--moving the camera around his people as they talk--and make it savory.
  3. Nothing like a full picture of Che--nor of Granado and his eventual scientific career in Cuba, for that matter. But it exhilarates with the spirit of these young men in Act One of their lives.
  4. Its rich movie-ness is heightened by the talents involved. John Mortimer knows how to shape scenes with dialogue, much as painters know how to turn shapes with color. Zeffirelli, in his long career as designer and director of opera, theater, and film, has not been noted for restraint; yet here his directing is generally taciturn and implicative. [7 June 1999, p. 32]
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  5. To name only one of its predecessors -- for me, the towering one -- doesn't "Schindler's List" do everything that Polanski achieves and more?
  6. Jacques Richard has fashioned an adoring tribute to this wonderfully maniacal man.
  7. The film holds us principally because of its Napoleon. Philippe Torreton doesn't perform the role: he exists.
  8. Green treats his people with affectionate knowledge, untinged with patronizing. And he sees them in ways that are free of cinematic cliché.
  9. [Reiner] pulls everything together adroitly to make Harry Met Sally a real refreshment. It's what they call a summer picture, which means that, if it's good as this one is-it will seem summery even in winter. [21 Aug 1989, p.26]
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  10. Bellochio, who began his career in 1965, has made some of the most trenchant Italian films on political themes, and Good Morning, Night is one more of them.
  11. Kaminski, who is as good as any cinematographer working today, matches the chromatic tones of shots to their content in ways that can only be called exciting.
  12. The picture holds us, not only through our wonderment at the mixture but through Serreau's dexterity and her casting.
  13. It's agreeable to see a picture that holds us without perspiring to do so. We are treated not as an audience but as café chums to whom a story is being told
  14. Payne's directing is alert, warm, patient. He knows that the surface must keep us interested until we go below it, and his confidence holds us.
  15. One of the best elements in the adaptation is Caine's blending, like le Carré's, of the past and the present so that one can enrich the other. There are no stilted flashbacks: both past and present are treated as present, which gives the film a texture of depth.
  16. Twister is full of marvelous special effects. The story exists only to provide some respite between those marvels, like dialogue in an opera full of terrific arias. [10 June 1996, p.24]
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  17. Frances McDormand plays the record-producing mother with the nativity that talent makes possible.
  18. Every moment of Longley's film is interesting, and the more we watch, the more clearly we realize that the film cannot solve anything for us.
  19. The contrast between Holm's pearly speech and the dark things that he tells us and that we see almost outlines twentieth-century civilization, elevation and brutality at opposite ends of the spectrum.
  20. A documentary, thoughtfully made.
  21. Steven Spielberg's new film begins as a monumental epic; then it diminishes; and, by its finish, is baffling. [August 24, 1998]
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  22. No element in the story, or collection of stories, has much novelty: yet the picture grips, because we sense that the director clearly knows he is treating familiar material and forges ahead out of passion.
  23. This film holds and convinces, even evokes empathy, because of Anne Reid, an actress long experienced in British television and film. She gives May intelligence and spirit and a somewhat genteel wonder at the resurging of desire.
  24. What Burger and his colleagues have done is to entrance us with a richly acted, beautifully produced story.
  25. But Anker's real success here is himself. He was obviously able to get these men and women to open up to him. And thus, quite obliquely, they remind us of a threat. As everyone knows, American symphony orchestras are in trouble. Attendance is dropping, and managements are trying various maneuvers, even stunts, to attract people.
  26. His performance here made me suspect that Schreiber is, in a sense, another Kenneth Branagh--an extraordinary actor who is simply not a film star.
  27. Noyce has treated this story almost like a page of holy writ. If he has erred, it is in the very awe of his approach.
  28. 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.
  29. Even if this film were more gripping than it is, and it grips somewhat, it would be a bit disappointing because it aims so low. Let's hope that Branagh now has the Hollywood adoration out of his system. [16 Dec 1991, p.30]
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  30. The name of Hugo Colace ought to be known to the film world. He is the cinematographer of an Argentinean film called Intimate Stories. Not since some Tibetan films have I seen such vastness, sparsely inhabited, almost ringing with immensity.

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