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 Flags of Our Fathers
Lowest review score: 0 Hulk
Score distribution:
  1. Negative: 44 out of 458
458 movie reviews
  1. Why was this film made after the homes had already been abolished? One reason, hardly trifling, is that it was made excellently. Thematically, however, it stings -- as a reminder that Catholicism is only one religion that is dominated by males and that this domination is proprietary.
  2. Stands as a poignant marker in the career of a major artist.
  3. A lively, long, intelligent documentary.
  4. Spielberg directs so fluently that it takes a while to perceive how well made the film is.
  5. The opening minutes in a Union Army camp are as good as anything in Glory; and the buffalo hunt, as edited by Travis, is a marvel. [10 Dec 1990, p.28]
    • The New Republic
  6. It is too weak to say that Herzog disregards conventions of narrative structure and editing: he is there to punish us for attending his film and to make us enjoy it. Other directors have at times made masochists of us: Herzog excels at this, and he doesn't often do it more stunningly than in Cobra Verde.
  7. Aesop endowed animals with human traits to teach us lessons. Seabiscuit almost does the reverse. By means of Ross's adroit shooting and editing, we ourselves pound bravely along the track.
  8. Even though no reasonably well-informed viewer will learn much factual information from the picture, it grips; it even torments, because it lets us move and breathe and shiver and resolve with two particular young men.
  9. It is the central performance that holds us. Cillian Murphy glows.
  10. The film leaves the viewer with an increased sense of Shepard's exceptional being and talent--a prime playwright of his time who, if he had so chosen, could also have been one of its leading film stars.
  11. Moncrieff's insistence on her subject suggests conviction -- about her contribution and about her cast. Both beliefs are pretty much justified.
  12. Smith makes it crackle, with various aggressive honesties and wit. [May 5, 1997}
    • The New Republic
  13. Australian "Westerns" occur. An exceptional one is The Tracker, which has the shape of an offbeat American Western and seems at first a sort of Down Under copy. But it develops characters and relationships that are indigenous.
  14. Both these stories, which of course develop further, are more engaging than they may sound, because Desplechin directs them so intelligently and because they are so well acted.
  15. Obviously the variety that was bound to result was part of Brigand's plan. The astonishment is that almost all of the assemblage is fascinating, very little is poor, and one segment is superb.
  16. Bier directs with a sense of motion, pleasant without pushing. Mads Mikkelsen, who plays Jacob, is an actor who absolutely belongs on the screen, a gentler sort of Jack Palance.
  17. Like some wines, The Best of Youth travels well. From its earliest moments the film is intelligently seen.
  18. 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.
  19. The overall effect is of a young director treating some old problems with the cinematic lexicon of his time. So he is able to create warmth without slush.
  20. Hanson's rendition is so engulfing that, for this middle-class white man at any rate, the moment after the film finished was like a return to familiar country.
  21. The most enchanting point about cinematographer Eduardo Serra work here is that he hasn't put Vermeer's painting into the film; he has put the film into Vermeer.
  22. As directors, Harari and De Pelegri have just the right light-fingered glissando touch. Not a moment sags. Their cast relishes and fulfills the tempo.
  23. Mamet's real triumph, however, is in his directing. Like every good director, he has "seen" the picture before he made it; and he saw it as a piece with the intimacy and physicality of a play that nonetheless flowed like cinema.
  24. Like an old-fashioned theater program, it tells you early on who and what each of its characters is--and so they prove to be, enjoyably. [10 Apr 1995 Pg.30]
    • The New Republic
  25. But conventional though the patterns are, the dialogue, in black and Latino lingo, is topically hot and is heated further by contemporary street naturalism, which in fact is less "natural" than consciously theatrical; so the familiarity of the story is disguised by the crackle of the production. [16 May 1988]
    • The New Republic
  26. As Blank, Cusack is both proud and remorseful. And the amazing thing is that as usual, you believe him. [Oct 10, 1997]
    • The New Republic
  27. The segments are so cleverly arranged--Apted includes past pictorial references for each of the people we revisit--that now there is something almost mystical involved. It is as if a wizard were giving us an overview of forty-two years that mortals were possibly not meant to see.
  28. The daring achievement of Jarhead is that it is not a film about war, about combat: it is about being a soldier.
  29. Whatever the news-linked reasons for its revival, Pontecorvo's film is wonderfully worth seeing, or re-seeing, for its own sake.
  30. Sitting in front of Tristram Shandy for an hour and a half lets us enjoy the fact that, smooth though its making is, the picture is winking at us.

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