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 Away from Her
Lowest review score: 0 Miller's Crossing
Score distribution:
  1. Negative: 44 out of 458
458 movie reviews
  1. "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.
  2. Son Frère is a real achievement, delicate, perceptive, somewhat muted but nonetheless strong.
  3. 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.
  4. Crudup is whole. He creates the man who has pride in what he does, who is suddenly stripped of the work and the pride; and who makes his way, somewhat painfully, to another sort of pride. His story is a small but acute poignancy in the history of the theater, and Crudup realizes it completely.
  5. The cast could not -- one could almost say need not -- be improved.
  6. The insinuating quality of 3-Iron is irresistible.
  7. Denis and her editor, Nelly Quettier, have assumed that they do not have to show the details of sex because we know them already. Instead, Denis and Quettier create a small visual poem on the subject.
  8. The making of the film is so slick, the acting so exceptional, that we find ourselves trapped - caring about what happens to the three principals. [6 May 1991, p.26]
    • The New Republic
  9. Washington Heights, under De Villa's guidance, bubbles. Once more, as in comparable films, it creates a foreign nexus in a domestic setting -- a group of people who live in two cultures.
  10. The essence of the film is that French gambit which Leconte has called "the magic of the unlikely encounter.
  11. Loach's cast fits perfectly, and his directing has his usual extra tang of commitment. He provides almost a sensory response to his material: we seem to feel the textures and scent the air.
  12. 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.
  13. An unusually fine screenplay, then, yet LaBute's accomplishment goes further. He has envisioned a cinematic style for his film that harmonizes exactly with its theme and mood. [Sept 1, 1997]
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  14. 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.
  15. García wanted to paint a canvas of nine elements, rather than one large element; and, though only a few of the vignettes are related, the film leaves us with a sense of wholeness, not of stunt.
  16. It is Theron who transmutes and sustains this journey through the lower depths.
  17. Spider is not a pulse-quickening experience, but Fiennes's art makes it engrossing.
  18. It seems quite possible that Me and You marks the arrival of an artist who may affect--disturbingly yet helpfully--films and audiences to come.
  19. 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.
  20. The result, except for the stock action climax, is sharp, fast, bitter. [19 September 1994, p. 38]
    • The New Republic
  21. The film's authority rests first and finally on the two actors in the leading roles. They are utterly reassuring. [4 August 1997, p. 26]
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  22. A comedy that surfs from beginning to end on a wave of high spirits. The tone is young but not juvenile, sexy but not cynical, optimistic but not stupid. [22 April 1996, p.28]
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  23. The picture depends completely on those two performances (Whalberg, Forster), and the two actors come through.
  24. It contains little that will be new to any informed viewer; yet it fascinates for all of its 140 minutes.
  25. 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.
  26. 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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  27. 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]
    • The New Republic
  28. Happiness very quickly displays finesse and control, colored by a nearly exultant glee. [9 Nov 1998]
    • The New Republic
  29. 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.
  30. 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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