The New Republic's Scores

  • Movies
  • TV
For 458 reviews, this publication has graded:
  • 39% higher than the average critic
  • 3% same as the average critic
  • 58% lower than the average critic
On average, this publication grades 2.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Sling Blade
Lowest review score: 0 Miller's Crossing
Score distribution:
  1. Negative: 44 out of 458
458 movie reviews
  1. It lets us glimpse once again the stubborn, if slender, persistence of the humane.
  2. It is his best and most courageous work to date. [13 Nov 1989, p. 22]
    • The New Republic
  3. Whatever the outcome of all this hugger-mugger, as yet unresolved, Stolen gives us hints about a special sort of muscle.
  4. It has long been clear that Shepard is a rare double talent. He has flourished, rightly, as a playwright, and he is also a compelling film actor. His face does more for the reality of this picture than anything he wrote in the script.
    • 63 Metascore
    • 70 Critic Score
    Hopkins uncannily projects Adams's suppressed agonies as well as his querulousness, his zest for scholarship as well as his zest for political intrigue, his pragmatism as well as his idealism. [22 Dec 1997, p. 25]
    • The New Republic
  5. But the best of the story is that there isn't much--as such. A slice of living is put before us. Some things happen. That's all.
  6. 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.
  7. One aspect certainly is remarkable. The dialogue is, at least to an American ear, authentic. Allen doesn't mention any aid on the script, so we are to assume that he wrote it himself.
  8. At the last, My Mother's Smile conveys that, if Bellocchio is just doggedly hanging on to a career, he is still able to make us feel nostalgia for those high Italian days.
  9. The fact that Pitt and Jolie have not been associated with this type of action is something of a help, but what was needed was the off-balance tickle that--to fantasize--Cary Grant and Rosalind Russell would have given it.
  10. The result is a picture that, moving through political and social chaos, is stubbornly amusing.
  11. Harron's work here is unclear in its theme or purpose. Was she showing how a woman managed to find a woman's way to success in a man's world? Was Harron interested in Page's delusion about what she was doing? Or did she want to scoff implicitly at the customers who made Page's career possible? We are left wondering.
  12. Crowe is, in his unique way, astonishing. Even at his biggest moments he seems both convincing and somewhat reticent.
  13. To play for an audience of one that is only a few feet away is different in concentration and shade from playing in the theater, and Madden, though the script lags a bit, has nonetheless helped his actors to render what were once theater scenes as film sequences.
  14. What fascinates is, first, that these comics treat the joke the way jazz musicians might treat a theme that each of them plays differently; and, second, that the passage of this joke from one comic to another is like the bonding of a profession.
  15. Embedded here in a culture of formalities, with some of the arcs and gestures of that culture, it almost becomes an opera of its own.
  16. 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.
  17. 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]
    • The New Republic
  18. 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.
  19. It is echt Maugham, in its somehow flattering cynicism, its character crinkles, its perceptions that sting even though they don't go very deep.
  20. 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]
    • The New Republic
  21. This picture is an odd misadventure: a gigantic enterprise that, despite some quite exceptional filming, is thwarted by its two leading actors.
  22. 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
  23. Sophie Scholl is not as devastatingly moving as "The White Rose," but it, too, evokes awe in lesser beings.
  24. Tsai's film is not free of longueurs, but like much modern work in almost every field, these stretches are deliberate assaults on conventional expectation.
  25. As the picture winds on, the feeling grows that Saleem, who clearly knows these people, wants to show that their mode of life in this stark setting has, in a gentle way, a touch of the ridiculous.
  26. Not many of us, I think, would want to see many films made this way, possibly not one more, but this one is an intriguing glance at the director-as-god, deigning to treat human frailty with imperial sway, assuming that his art justifies this slender material.
  27. The picture has enough good feeling and chuckle to take it out of the parochial.
  28. In the leading role Michael Pitt is neither good nor less than good. He simply mopes along druggedly for the film's ninety-seven minutes. Van Sant's inculcation of this non-performance is clearly part of his dogged negativism, his intent to purge his film.
  29. But the contrast between setting and story isn't all that bars North Country from fulfillment. The major trouble is Theron. She plays Josey as well as is needed, but she is simply too beautiful.

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