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 Boogie Nights
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. But the way that this picture has been so widely ravened up and drooled over verges on the disgusting. Pulp Fiction nourishes, abets, cultural slumming. [14 Nov 1994]
    • The New Republic
  3. Whatever the news-linked reasons for its revival, Pontecorvo's film is wonderfully worth seeing, or re-seeing, for its own sake.
  4. Payne's directing is alert, warm, patient. He knows that the surface must keep us interested until we go below it, and his confidence holds us.
  5. Irons, busily offset by Silver, gleefully choreographed by Schroeder, gives the picture its real bravura reason for being. [19 Nov 1990]
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  6. 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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  7. 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.
  8. Whatever the virtues of The Queen--and it certainly has them--it simply would not exist without Mirren.
  9. 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]
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  10. 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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  11. Steven Spielberg's new film begins as a monumental epic; then it diminishes; and, by its finish, is baffling. [August 24, 1998]
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  12. 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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  13. 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.
  14. At least we know this Allen persona, whatever his current name; the other characters, starting from scratch, don't get much past scratch. Although the picture spreads its attention fairly evenly among them, most of them end up as supporting cast because they are only life-size puppets. [Feb 10, 1986]
    • The New Republic
  15. To see the flight captain and co-pilot checking the plane before takeoff, to watch the varied passengers settling into their seats, is more agonizing than watching passengers board the ship in all those "Titanic" films. With United 93 we see these people unknowingly stepping into a history that is still in terrible process. But as a work in (let's call it) the Akhmatova mode, it does not and could not succeed.
  16. 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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  17. 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.
  18. 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.
  19. Like some wines, The Best of Youth travels well. From its earliest moments the film is intelligently seen.
  20. 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.
  21. 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.
  22. Overall, the effect is presumably what Eastwood wanted: we are present at a momentous event, not watching a movie.
  23. A slight conceptual nudge and Capote would have focused on (as the closing line tells us) its true subject: an American author's success story. That theme is there, all right, but because it is not centered it is repellent, as the film pretends to be an account of the author's descent into collateral agony...With the true theme of fame-hunger fully fashioned, the film would have been a more authentic American epic.
  24. Extraordinary--delicate, seriously disturbing, and lovely.
  25. There is not much progress in the film: actions are repeated and repeated...Yet the film is sustained--and, for the most part, well sustained--by the children.
  26. 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.
  27. 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]
    • The New Republic
  28. "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.
  29. It contains little that will be new to any informed viewer; yet it fascinates for all of its 140 minutes.
  30. 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.

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