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 2.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Since Otar Left
Lowest review score: 0 Hulk
Score distribution:
  1. Negative: 44 out of 458
458 movie reviews
  1. So in all the tumult about this film, the eruption of its subject into wide attention and the consequent revelations about cowboys' lives in the past, let us--without forgetting the American sources of the screenplay--acknowledge the anomaly that the director is Chinese.
  2. The ability to conceive a compact drama on this huge subject and to embody it as perfectly as they have done, added to what they have already accomplished, puts Jean-Pierre and Luc Dardenne among the premier film artists of our time.
  3. Extraordinary--delicate, seriously disturbing, and lovely.
  4. With most historical films the informed viewer scrutinizes in order to cluck at errors. (There are books full of such cluckings.) With Shakespeare in Love, the more one knows, the more one can enjoy the liberties taken. [Jan. 4, 1999]
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  5. Any film that provides Ian Holm with a large role is off to a good start. The Sweet Hereafter gets off to that start and keeps going. [Dec 8, 1997]
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  6. Who is Billy Bob Thornton? The question fascinates after seeing Sling Blade, the extraordinary first film that he wrote and directed and in which he plays the leading role. [Feb. 10, 1997]
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  7. With the ship, with its totality of people, Cameron is wizardly, creating an entire society threading through the various strata of a world that has been set afloat from the rest of the world. [Jan. 5, 1998]
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  8. One other element helps Out of Sight tremendously: the editing. [3 Aug 1998]
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  9. Turtles Can Fly, is masterly: it courses before us with grace, a control that paradoxically bespeaks love and anger.
  10. The result is a peculiar small gem, a true Linklater gem. The verity of the film, rather than any novelty or twist, keeps us fixed.
  11. If this weren't a true story, who would believe it? Well, a good many of us, probably. First, it's the kind of exceptional circumstance we like to dwell on as proof that pessimists are wrong; second, Shine is markedly well made, therefore persuasive. [Nov. 18, 1996]
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  12. We are certainly entitled to marvel at its very existence, but that isn't enough. The work itself is extraordinary.
  13. The Truman Show is a reminder of the Beckett theme. The screenplay by Andrew Niccol starts from something like Beckett's abstraction and reifies it with details of contemporary culture, then moves on into fantasy. [June 29, 1998]
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  14. Gondry's virtuosity lifts the film far past science fiction into cinematic efflorescence. He shows us, more seductively than other directors have done, how freehand use of film can capture the flashes in our minds that slip between words.
  15. The last minutes of the film are exhilarating, but its real triumph is in everything that precedes the ending--the relatively simple lives of the three women up to that point.
  16. Soderbergh is helped enormously by the interplay of his actors, whom he has cast like a master... [He makes] a film that goes past what it shows to disclose what can't be seen. It's a fine achievement. [4 Sept 1989, p.26]
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  17. The screenwriter Angus MacLachlan and the director Phil Morrison and an astonishingly perfect cast have quietly made a daring picture.
  18. Herman handled his script cleanly and cast the picture well. [09Jun1997 Pg 30]
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  19. And Ben Kingsley--O rare Ben Kingsley!--is the Jewish accountant whom Schindler plucks from a condemned group to run his business and who combines gratitude with disdain, subservience with pride. (Actors who want to study the basis of acting--concentration--should watch Kingsley.) [13 Dec 1993]
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  20. If Boogie Nights were poorly made and acted, its materials would make it intolerably tawdry. But its so well done that we keep watching. [Nov. 10, 1997]
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  21. What an extraordinary idea it was to make this film. What a splendid achievement.
  22. Overall, the effect is presumably what Eastwood wanted: we are present at a momentous event, not watching a movie.
  23. Leigh, the writer, ties up things somewhat neatly and is a touch homiletic. Leigh, the director of cast and camera, is masterly. [Sept. 30, 1996]
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  24. In every aspect, his film is superbly made.
  25. The picture is spectacular.
  26. It is Akinshina's presence and performance that make the pedestrian story heart-wrenching. She is pretty, responsive, reflective. Without the slightest strain, she convinces us of the beauty and pathos and hope within Lilya.
  27. The very considerable impact of the picture is mainly the work of two men, the author and the star.
  28. Christine Jeffs has directed it with discretion and intimacy, almost a paradoxical privacy.
  29. It's dazzling and serious, with flurries of impulse playing around a persistent core of madness. [6 May 1996, p. 24]
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  30. Nothing about this film sounds, as described, novel. Yet it grips, because it has been made with plentiful feeling and vigor. [June 26, 1989]
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