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 Shakespeare in Love
Lowest review score: 0 Hulk
Score distribution:
  1. Negative: 44 out of 458
458 movie reviews
  1. The film is emotionally and visually sustained, so it is pleasant.
  2. The tension with which the picture starts soon dissipates, the contrast between Eliska's background and her present place is lost, and the film plods into a tale of village life, spiced only occasionally with a hint of German threat.
  3. A story that is still healthfully discomfiting to remember.
  4. Menachem Daum and Oren Rudavsky succeed. Their documentary Hiding and Seeking: Faith and Tolerance After the Holocaust is, of all things, timely. It is also courageous.
  5. The result can be--sometimes is--tedium; but, whether or not the work succeeds as Sokurov intended, it is an adventurous director's probe of cinema possibilities.
  6. This multiplicity--of people, stories, settings--is both the weakness and strength of the film. It is not easy to follow all the various threads, to get the pith of every scene. Still, this very abundance gives the whole picture a sense of authority.
  7. It opens fissures through which we can glimpse oddities and strains in film directing and acting.
  8. McGrath says that he considers his film to be lighter in tone than TC 1, which is baffling. The reverse seems the case.
  9. The result is almost like a film we have seen before but don't mind seeing again. The dialogue is generally fresh, the relationships ring true.
  10. It has almost no story: its claim on our interest is in the texture of family life, which is what really fills the screen.
  11. Téchiné has a reputation in France as an especially empathic director of women--Catherine Deneuve and Juliette Binoche among them--and he has understood this Odile very well.
  12. The latest Chabrol is a bit bland, but by now a new film of his is almost like meeting a previously unencountered family member.
  13. There's a great deal in black America that has yet to reach the screen, and Lee is a prime candidate, in gift and gall, to help fill the gap. [July 3, 1989]
    • The New Republic
  14. At the last, despite the modern touches in Bennett's screenplay, The History Boys fills the traditional bill. Wellington would probably not be too upset by it. Eventually it tells us that Waterloo is still in pretty good hands.
  15. The dialogue is bright, historically styled yet lithe; the characterizations are graphic even with minor people.
  16. And Jesus Ochoa, the veteran actor who plays Diego, makes us jealous of Mexico. How easily powerful he is, how complex without pretense.
  17. No one is expected to believe Pretty Woman . We're just supposed to enjoy it... Pretty Woman wants only to engage us for two hours, and it does. [16 Apr 1990, p.26]
    • The New Republic
  18. This is a fictional film, but it is based on a novel by Stefanie Zweig that is autobiographical. The adaptation was done by the director Caroline Link, whose screenplay is serviceable and whose directing is generally sure.
  19. Burns with sincerity and serious intent.
  20. This film is a valuable signet of Wilson's carefully articulated independence.
  21. It's relatively easy to convey the claustral in interior scenes, but [designer] Furst and the director Tim Burton do it even when the setting is a great flight of steps before the municipal building or the huge square where Batman and the joker confront each other. [31 July 1989, p.24]
    • The New Republic
  22. Once we learn the story's terrain, we have a pretty good idea of the paths it will follow. Still, because the picture is tidily directed and acted--in one case, better than that--it has the comforts of well-made old things.

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