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 Boogie Nights
Lowest review score: 0 Hulk
Score distribution:
  1. Negative: 44 out of 458
458 movie reviews
  1. Whatever the virtues of The Queen--and it certainly has them--it simply would not exist without Mirren.
  2. The film is old-fashioned because it exists. No one, to use an ever-dubious line, makes films like this anymore.
  3. This is the fourth film directed and at least co-written by Beauvois. (He has acted in a number of pictures, including a previous one of his own, and he is in Le Petit Lieutenant for a while.) He is a clean and sure director, with a good selective eye: he knows where we ought to be looking at any moment. We can hope for more Beauvois films with worlds of their own.
  4. This French pastry, directed by Danièle Thompson, who wrote it with her son Christopher, is a meet-cute comedy in excelsis. Or very near excelsis.
  5. An engrossing documentary.
  6. Much of the action is laugh-provoking, and even the plentiful violence is handled as comic by-play. The cast is revved up to sizzle, with Sting in a smallish role, and the thick cockney dialogue is more comprehensible than you might think.
  7. Chabrol insured the power of this dangerously difficult film with perfect casting. The two lovers are so well acted that their story--and its finish--are incredibly convincing.
  8. Moreau's face is the base and the beauty of the film.
  9. Murray, more often than not, is pretty unbearable; but here, playing a man who is unbearable, Murray begins convincingly, amusingly, and gets even more amusing as he metamorphoses. [15 Mar 1993, p.24]
    • The New Republic
  10. Grant does have charm, wit and intelligence, displayed through subtlety of inflection, timing and an ability to convey unspoken thoughts between utterances. That's quite a good deal. [April 4, 1994]
    • The New Republic
  11. Folke and Isak have nowhere near the dimensions of the pair in "Waiting for Godot" or in "Endgame," but on his level, Hamer follows Beckett's belief that, especially in an odd situation, two can make a multitude.
  12. Extraordinary--vivid, stripped, intense.
  13. Cunningham's novel was helped by his prose, which curves gracefully in the historical present to unify the book in some degree. Stripped of that tegument, the film depends more blatantly on Woolf's fate to give it organism and depth.
  14. The chief reason that we feel generous toward the film is Bullock herself. She tickles. All the others are good, especially Pullman and Gallagher, but she's the one we want to spend time with. [22 May 1995, Pg.28]
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  15. The Coen brothers wrote McDormand’s role best. Much of the time they seem to have had “Pulp Fiction” in their ears--strings of incongruous banalities; but with this pregnant cop, they struck some gold of their own. [March 25, 1996]
    • The New Republic
  16. So the monstrous twentieth century recedes into libraries; and so a small cog in the mechanism of that monstrosity bequeaths us her memory of it in a quiet, measured way.
  17. The film's ultimate flaw is in its futility. It cannot really prod us to any effect. What can we do about such situations? Many, many documentaries and fictional films expose injustices or inequities that can be addressed.
  18. The film was directed by John Curran who here does fine, close, and intimate "chamber" work. The cinematography by Maryse Alberti is of the most desirable kind: it creates mood and drama without ever being ostentatious about it. But it is the acting that truly realizes the film.
  19. The plot that follows, including the wretched young woman who lost the house, is of interest only insofar as Kingsley supports the structure with a powerful man.
  20. Sissako makes his point: Africa's best treasure is its humanity.
  21. It's not the most violent picture ever; what film could aspire to that title? But it's so well made, the violence is so gratuitous, and the general reception has been so delighted, that attention must be paid. [23 Nov 1992]
    • The New Republic
  22. Welcome to Yoji Yamada. After decades of comedies, he arrives--in this country, at least--with a uniquely touching samurai film. At the age of seventy-three, he starts a new career.
  23. Two aspects stand out. Clint Eastwood is not the first person we might think of to direct a film of leisurely pace, concerned with ghosts and a transvestite...Then there's Kevin Spacey, who grows before our eyes. [29 December 1997, p. 28]
    • The New Republic
  24. Weitz's dialogue has sparkle and snap.
  25. Like Ceylan--like many a fine director--Coixet has made her film less as a drama than as the traversal of a state of mind, a mood.
  26. The film, directed almost with fierceness by Kevin Macdonald, is a wondrous recreation of that physical adventure. The most profound element, the moral crux, is skimped, but I kept wondering, not so much about the actors who were playing Simpson and Yates, as about the cameramen who were photographing them on that icy face, possibly suspended while they were doing it.
  27. Fiennes has imagined and created from within. His Luther is not the thunderer we might expect, but he is, wondrously, the incarnation of a man passionate for God and angry with mundane intercessions.
  28. A prime candidate for a time capsule, to disclose a century hence the current state of some of our civilization's discontents, including the ability to be convinced that one is telling the truth even when one is lying.
  29. The film is remarkable for something besides its visual immersion in gold. The director, Gabriele Salvatores, has added his name to the roster of film-makers who have drawn remarkable acting from children.
  30. Holofcener's new film is extraordinary: it engages us from beginning to end without strong narrative, or narratives. It lives through the quality of Holofcener's dialogue and the performances that she has drawn from her actors.

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