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 2.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Titanic
Lowest review score: 0 Miller's Crossing
Score distribution:
  1. Negative: 44 out of 458
458 movie reviews
  1. This sort of investigation has been done so masterfully by Sam Peckinpah in "The Wild Bunch" and Oliver Stone in "Natural Born Killers" that, in a sternly utilitarian sense, we don't need Cronenberg. He is not, as far as I have seen, in their class. He proves it again in A History of Violence.
  2. Yet the McCarthy/Murrow conflict in the picture is not pressing enough--these days, anyway--to justify the considerable skill expended on it.
  3. 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]
    • The New Republic
  4. All these mystical elements are so sententiously handled and bump into one another so clumsily that they make the film seem nutty. But because spirituality is the theme of Bee Season, we are obviously not meant to laugh at it. Well, I wish I could get Jehovah's reaction to the picture.
  5. 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.
  6. 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.
  7. Less would have been more. Still, CSA has some laughs, most of them bitter.
  8. We may indeed yawn a bit from time to time, but we know that we are yawning in the presence of a director who is intelligently disturbed by the moral inertia he sees around him and whose future is worth watching.
  9. The danger in Hong's procedure is obvious. Dramatists learned long ago that it is risky to include a static character because he may so easily bore the audience.
  10. [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]
    • The New Republic
  11. Eastwood, who directed the picture adequately, is inadequate in this role. He has done a lot of impressive acting in films, but none of it has been sexually romantic, and the age of 64 was not the right time to take up that line of work. [03Jul1995, Pg. 26]
    • The New Republic
  12. A moderately engaging satire, some of it amusing and some of it strained, but in considerable measure it reflects a strange circumstance in all our lives.
  13. 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.
  14. 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.
  15. 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.
  16. The best performance comes from Stanley Tucci as the Runway art director. Tucci presents a homosexual man without a trace of cartoon--shrewd, skilled, and weathered without being worn. It is a well-judged and accomplished piece of work.
  17. 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."
  18. We are meant to think about a society that revels in this moral pit. But all that puzzled me was why an audience would need a film to immerse it in wanton, speciously motivated death when the television news provides so much of it every day.
  19. The film isn't dreadful: it is just generally disappointing.
  20. Winslet is an actress, Diaz is not. The screenplay by Nancy Meyers, who directed, has dialogue that is not near the snap level of, say, Nicole Holofcener's comparable "Friends With Money."
  21. The one attraction in the picture is DiCaprio's performance: easy yet strong, confident, humorous.
  22. 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.
  23. The best performance, the only one that can really be called acting, is Diane Ladd's as the mother. Ladd gives us a woman full of self-pity and shrewdness, full of sexual experience and guile, who has now reached the age when, if she wants to, she can turn off sexual heat in favor of cold power drive. [24 Sept 1990, p.32]
    • The New Republic
  24. Rogozhkin's hard, hands-on directing technique and the physicality of all three actors are--or could be--impressive, but they are swamped here in a sea of ideological mush.
  25. Nelson's writing, as arranged by Simpson, adds absolutely nothing to our experience of September 11.
  26. Malkovich has done considerable directing in the theater, but nothing in the acting here shows acuteness of choice or subtlety of touch.
  27. What is outstandingly incredible are the high-flown pronouncements, including literary judgments, given suddenly to Costner. They make him sound like a dummy for Shelton the ventriloquist. [1 Aug 1988]
    • The New Republic
  28. Little in [Connery's] character is explored or colored. It's not a highly complex role, but the man has qualities that could make him interesting; after all, it's his aberrant action that initiates the whole naval plot. Connery merely fulfills his contractual obligations to the producer-no depth in him at all. [26 Mar 1990, p.26]
    • The New Republic
  29. The ghost is played by Patrick Swayze, who can't handle the part; his bereaved girlfriend, Demi Moore, is much better. [13 Aug 1990, p.30]
    • The New Republic
  30. We become so distracted by the jigsaw effect that soon we are more concerned with the assemblage itself than with what it is about.

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