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 2.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 sex, lies, and videotape
Lowest review score: 0 Miller's Crossing
Score distribution:
  1. Negative: 44 out of 458
458 movie reviews
  1. Jaoui directs with flow and affection, and she plays Sylvia sensitively. Bacri has the right middle-aged assortment of humors.
  2. When a spectacular film rests on at least a minimal armature of character and cogent action, as Troy does, we can just sink back and enjoy. What we enjoy is the sovereignty over time and place and the force of gravity that film has given to the world.
  3. Russell wants us to feel the itch of familiarity: it's part of his tonal plan. And he survives this structural hazard because he casts all the roles so well and gives his actors dialogue as fresh as the familiar situations would permit. [01 Aug 1994 Pg. 28]
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  4. The most important aspect of the stories about all five characters is the way they are told. Attal and his editor Jennifer Augé have found an attractive playful style: they never let the stories rest, almost juggling them, and keep them gamboling before us.
  5. The real success of Duncan Tucker, who wrote and directed this debut feature, is that, through credible dialogue and sensitive performances, the basic idea overcomes its cleverness and is affecting.
  6. The screenplay of Saraband feels concocted, not absorbed from life in sense and soul like so much of Bergman's work.
  7. 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.
  8. Softley worries a bit, quite unnecessarily, about keeping our interest; so he lays in a number of overhead shots and considerable zooming at the start of sequences. But his work with his cast is sure, except for the miscast Elliott, and he generates the right internal heat between the lovers.
  9. Like many other Iranian films, Blackboards counters the generally broadcast ideas about this part of the world. It is a testament of quiet endurance, of common concern, of reconciled survival.
  10. The chief pleasure in the picture (set in Los Angeles) is in watching Hopkins spin off another of his nutty self-possessed intellectual criminals--this time it's Hannibal Lecter lite.
  11. The film is in one sense lifelike: in order to get the good, we have to endure the lesser.
  12. The finish is so asymmetrical that it, too, seems a comment on the kind of film this might once have been.
  13. Stone has concentrated on one of the catastrophe's stories and has fashioned it well--with almost palpable physical detail, and with performances that never sink to exploitation.
  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]
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  15. Tornatore has learned much from Fellini--especially in the long shots where someone suddenly appears close up. Let's hope he moves on to his own style. Meanwhile, he has given us a nice bask in Sicilian warmth. [Feb. 19, 1990]
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  16. Entertaining though The Hoax is, the film that I imagined before I saw it was better.
  17. Jarecki says that his film doesn't precisely answer the question in his title. He is mistaken.
  18. 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]
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  19. Wade, presumably with Nichols's urging and aid, has tricked up most of the picture with plotting that scuttles the realism of the beginning, strangles any serious view of the theme, and ends up ludicrously incredible. [30 Jan 1989, p.28]
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  20. So much of this adaptation is engrossing that the script's additions are jarring.
  21. All four of the roles are written with pungency. There is even an implication that the two adults realize the triteness of the situation and that they--the characters, not Baumbach--want to speak from inner sources, not from a script. Baumbach pulls this off with some sting and wit.
  22. But for those who can summon up the talismanic "what if," The American President provides chuckles and tingles, even a few sobs. [18 Dec 1995, p.28]
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  23. All political thrillers, good or less good, have moral implications...Walk on Water, one of the better ones, has grave moral implications and does not ignore them or merely utilize them.
  24. The screenplay, by Lowell Ganz and Babaloo Mandel, based on a French film, has enough sharp gags and plot twists to sustain it, with an ending that manages to be nice.
  25. Admittedly, the setting does heighten interest, but this film is much more than an ideational travelogue.
  26. The cast is so good that a kind of counterpoint arises between the riskily lachrymose story and the firm verity of the acting.
  27. The most pleasant aspect of the picture is its relish of the moment in which it is set. Deville doesn't omit mention of the anti-Semitism in postwar France; still, this little tailoring shop is a good place to have reached after the preceding years.
  28. Overall Nina's Tragedies is another instance of a subject discussed here lately--a foreign film that is seen one way at home and another way abroad.
  29. It is the two leading performances that make the film seem almost to reach down and embrace us.
  30. LaBute's dialogue reminds us that, along with that of such others as Hal Hartley and Jim Jarmusch and Whit Stillman, the sheer writing, these days, of some American films is remarkably fine. LaBute has cast his film to match, with people who can handle his dialogue neatly. [31 August 1998, p. 28]
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