The New Republic's Scores
- Movies
- TV
For 458 reviews, this publication has graded:
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39% higher than the average critic
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3% same as the average critic
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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: |
Critic Score
100
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| Lowest review score: |
Critic Score
0
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Score distribution:
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Positive: 262 out of 458
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Mixed: 152 out of 458
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Negative: 44 out of 458
458
movie reviews
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Reviewed by
Stanley Kauffmann 90
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. -
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Reviewed by
Stanley Kauffmann 90
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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Reviewed by
Stanley Kauffmann 100
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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Reviewed by
Stanley Kauffmann 90
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. -
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Reviewed by
Stanley Kauffmann 100
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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Reviewed by
Stanley Kauffmann 100
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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Reviewed by
Stanley Kauffmann 100
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. -
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Reviewed by
Stanley Kauffmann 100
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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Reviewed by
Stanley Kauffmann 90
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. -
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Reviewed by
Stanley Kauffmann 90
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. -
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Reviewed by
Stanley Kauffmann 100
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. -
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Reviewed by
Stanley Kauffmann 100
Overall, the effect is presumably what Eastwood wanted: we are present at a momentous event, not watching a movie. -
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Reviewed by
Stanley Kauffmann 100
Extraordinary--delicate, seriously disturbing, and lovely. -
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Reviewed by
Stanley Kauffmann 90
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. -
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Reviewed by
Stanley Kauffmann 100
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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Reviewed by
Stanley Kauffmann 90
It contains little that will be new to any informed viewer; yet it fascinates for all of its 140 minutes. -
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Reviewed by
Stanley Kauffmann 100
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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Reviewed by
Stanley Kauffmann 100
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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Reviewed by
Stanley Kauffmann 100
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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Reviewed by
Stanley Kauffmann 90
"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. -
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Reviewed by
Stanley Kauffmann 100
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. -
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Reviewed by
Stanley Kauffmann 100
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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Reviewed by
Stanley Kauffmann 100
Turtles Can Fly, is masterly: it courses before us with grace, a control that paradoxically bespeaks love and anger. -
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Reviewed by
Stanley Kauffmann 100
One other element helps Out of Sight tremendously: the editing. [3 Aug 1998] -
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Reviewed by
Stanley Kauffmann 100
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. -
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Reviewed by
Stanley Kauffmann 100
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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Reviewed by
Stanley Kauffmann 90
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. -
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Reviewed by
Stanley Kauffmann 90
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] -
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Reviewed by
Stanley Kauffmann 100
We are certainly entitled to marvel at its very existence, but that isn't enough. The work itself is extraordinary. -
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Reviewed by
Stanley Kauffmann 90
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. -
