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 3.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 The Sweet Hereafter
Lowest review score: 0 Miller's Crossing
Score distribution:
  1. Negative: 44 out of 458
458 movie reviews
  1. One particular bit of luck for this reissue is the fact that Melville's cinematographer, Pierre Lhomme, was on hand to help with the restoration of this thirty-five-year-old film. The result is a paradoxical beauty. Very many of the scenes are in sunlight--Melville avoided such facile stuff as shadows for suspense--yet they are chilly. The seasons vary, but the general effect is of a bright winter day that is freezing.
  2. Irons, busily offset by Silver, gleefully choreographed by Schroeder, gives the picture its real bravura reason for being. [19 Nov 1990]
  3. 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]
  4. Sembène's love of his people and his commitment to the richness that underlies the poverty of their condition have always made his films gems of truth, as they do once again here.
  5. 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]
  6. 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]
  7. 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.
  8. 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]
  9. Coppola handles her film with very pleasant economy, with a kind of warm precision. Her father, who was one of this picture's producers, can be as proud of her as we are grateful.
  10. Despite the fact that parts of this film remind us of past pictures with comparable themes, the director and his actors make it immediate, gripping.
  11. 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.
  12. Overall, the effect is presumably what Eastwood wanted: we are present at a momentous event, not watching a movie.
  13. Extraordinary--delicate, seriously disturbing, and lovely.
  14. The brothers have given us another treasure. Once again they have made a drama of redemption, and once again they convince us that it is possible.
  15. 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]
  16. It contains little that will be new to any informed viewer; yet it fascinates for all of its 140 minutes.
  17. 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.
  18. 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]
  19. 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]
  20. "You'll have to be patient." Philibert said, "That's the point." This is the film's success: its patience, which in a way mirrors the teacher's.
  21. 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.
  22. 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]
  23. Turtles Can Fly, is masterly: it courses before us with grace, a control that paradoxically bespeaks love and anger.
  24. One other element helps Out of Sight tremendously: the editing. [3 Aug 1998]
  25. 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.
  26. 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]
  27. A good Listless Film carries a double melancholy for all: it makes us sad for its characters and sad for the world that has thus affected them. Old Joy is such a film.
  28. Sheridan and colleagues understood their chief problem: how to sustain interest in a story that was well-known in advance, not a large historical subject with its own prestige but a news story now dated. So they concentrated on character and on acid irony. [03 Jan 1994 Pg. 28]
  29. We are certainly entitled to marvel at its very existence, but that isn't enough. The work itself is extraordinary.
  30. This is Sollett's first feature film -- he has previously made only one short -- and it shows, more than exceptional talent for cinema itself, his ability to evoke character, in a kind of sidewise offhand way, and to create a sense of community both within and around the film.

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