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 Junebug
Lowest review score: 0 Miller's Crossing
Score distribution:
  1. Negative: 44 out of 458
458 movie reviews
  1. Both Wong and Soderbergh have understandably expressed their gratitude at, even in this tripartite way, being part of an Antonioni project... But Eros is better for what they contribute than for his work.
  2. The Good Thief merely adds a new tinct to the pathos of Jordan's career. Once again we see a director who is better than anything he has so far done.
  3. One reasonably dependable pleasure in Woody Allen's films is that he uses old-time songs, in moderately jazzed-up versions, on his soundtracks.
  4. This Jeffrey Hatcher-Kimberly Simi version, directed by Lasse Hallström, has a resemblance to some of Casanova's memoirs but is chiefly based on the assumption that, in a costume drama, anything goes.
  5. The screenplay is at the start far from lucid in setting forth characters and relationships and intents. And after the film has been barreling along for two hours of its 148-minute journey, it seems to have lost the ability to finish. Three or four times in the last half-hour, I thought the film was over, only to be jarred by more of it.
  6. The script is a tidy work of carpentry, in several time planes and with a tart finish. Tense moments abound, fights and shootings and near-drownings, but they seem items drawn from casework files. [5 Aug 1996, p.26]
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  7. The film isn't dreadful: it is just generally disappointing.
  8. Despite the pictorial riches, despite the firm performances by Ray Winstone as the captain and Guy Pearce as Charlie Burns, despite the miraculous John Hurt in an eccentric role that was put in just for spice, The Proposition is hollow.
  9. The film is repetitious. Herzog has varied the original footage with some interviews that he conducted with a former Treadwell girlfriend and some other friends and observers. Still, an hour of it would have been more effective than the present feature length.
  10. Come back, Jim Jarmusch. Come back to the pungency of your first films. Leave the 1970s. Come back to the future. [03 Jun 1996, Pg.30]
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  11. Scorsese's style, fierce as it is, doesn't accomplish what he clearly expected of it. Often, in many arts, fresh treatment can redeem familiar subjects, but it doesn't happen here. [Oct 22, 1990]
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  12. Meyer's screenplay has been called unsuccessful, and I agree; but, without glossing some bumps that are his doing, I'd say that in this case the trouble with the screen adaptation is the novel.
  13. Jordan would like us to believe that the three films are stages in a metamorphosis, but the stitching shows… Part Two, explored and expanded, might have made a good film, especially since Davidson gives a quiet, knowledgeable, perfectly poised performance. [14 Dec 1992]
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  14. Leaves the viewer with the sense of a writing-directing talent concocting complexities. Everything he touches is well-turned, but he now feels compelled to put the pieces together in something other than a lucid design.
  15. Yet the McCarthy/Murrow conflict in the picture is not pressing enough--these days, anyway--to justify the considerable skill expended on it.
  16. The net effect of the incessant dazzle is depressing.
  17. The picture is too long. It repeats and repeats. Thirty minutes, instead of its eighty-six, could have told us all we need to know about the danger and tedium of these lives.
  18. Only the onstage performing has moments of lift, particularly Keillor's diabolically homespun monologues and the cowboys with their risqué jokes that are reminders of such outhouse reading as Captain Billy's Whiz Bang.
  19. [Douglas McGrath's] adaptation of the novel is as complete as two hours would allow. What it lacks texturally is what no adaptation could adequately supply: the gleam of the Austen prose. [19 Aug 1996, Pg.38]
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  20. Pappas's talking heads can't exactly solve the problem, but they help to keep us from forgetting it.
  21. Malick continues to float along the edge of the American film world as an unusually intelligent personage who occasionally delivers the fruit of his meditations. But his role as adjunct philosophe is better than the films he eventually gives us.
  22. A new voyeurism has arisen in the last two decades or so, and Trainspotting caters to it--an addiction to addiction-watching. [August 19, 1996]
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  23. What the role needs, and what Macy cannot quite provide, is the sense not of a robot but of a potent man who has been imprisoned by rote. Remember Jack Nicholson in "About Schmidt."
  24. The English Patient is excitingly promising. Then the screenplay goes rotten, like an overripe melon. [Dec. 9, 1996]
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  25. The writer of Very Bad Things has done poorly by the director. This is particularly painful because they are the same person, Peter Berg. Director Berg shows lively talent, focused and controlled. Writer Berg shows some talent, too, but he is wobbly in design and purpose. [14 December 1998, p.26]
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  26. It's sad to see two talented actresses, Rebecca de Mornay and Jennifer Jason Leigh, wasted in puppet parts. [17 June 1991, p.28]
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  27. Lynn Redgrave is nearly incomprehensible as the housekeeper with some sort of housekeeperly accent. [Dec. 14, 1998]
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  28. 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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  29. In short, this squad is an ill-trained, slovenly bunch of soldiers. That such behavior exists, or can exist, in any army is surely commonplace, but that Israeli producers should want to make a film about the matter at this time is puzzling.
  30. What helps Pfeiffer most is the fact that though she is exceptionally pretty, she patently doesn't rely on her prettiness: she wants to act. But, with her Ellen, though we know what she means from moment to moment, we simply don't feel it... Winona Ryder is disastrously miscast. [18 Oct 1993, p.30]
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