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 The Truman Show
Lowest review score: 0 Miller's Crossing
Score distribution:
  1. Negative: 44 out of 458
458 movie reviews
  1. 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.
  2. Well-knit, generally lucid documentary.
  3. Crowe is, in his unique way, astonishing. Even at his biggest moments he seems both convincing and somewhat reticent.
  4. Unusually for a soap-bubble film, Après Vous runs almost two hours and very nearly sustains its length. Five minutes of condensation toward the end would have benefited it. But Salvadori floats everything, hammers nothing, and gets maximum buoyancy out of Camille Bazbaz's jaunty music.
  5. The fact that Pitt and Jolie have not been associated with this type of action is something of a help, but what was needed was the off-balance tickle that--to fantasize--Cary Grant and Rosalind Russell would have given it.
  6. The film is emotionally and visually sustained, so it is pleasant.
  7. The screenplay of Saraband feels concocted, not absorbed from life in sense and soul like so much of Bergman's work.
  8. In the leading role Michael Pitt is neither good nor less than good. He simply mopes along druggedly for the film's ninety-seven minutes. Van Sant's inculcation of this non-performance is clearly part of his dogged negativism, his intent to purge his film.
  9. What fascinates is, first, that these comics treat the joke the way jazz musicians might treat a theme that each of them plays differently; and, second, that the passage of this joke from one comic to another is like the bonding of a profession.
  10. Not many of us, I think, would want to see many films made this way, possibly not one more, but this one is an intriguing glance at the director-as-god, deigning to treat human frailty with imperial sway, assuming that his art justifies this slender material.
  11. To play for an audience of one that is only a few feet away is different in concentration and shade from playing in the theater, and Madden, though the script lags a bit, has nonetheless helped his actors to render what were once theater scenes as film sequences.
  12. A bit scattery, but it simmers with Shicoff's intensity in lending his faith and being to the role.
  13. 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.
  14. 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.
  15. But the contrast between setting and story isn't all that bars North Country from fulfillment. The major trouble is Theron. She plays Josey as well as is needed, but she is simply too beautiful.
  16. But the best of the story is that there isn't much--as such. A slice of living is put before us. Some things happen. That's all.
  17. The picture has enough good feeling and chuckle to take it out of the parochial.
  18. The Oxford English Dictionary says that an allegory is "an extended or continued metaphor." And to think that this definition was coined when a French film called Innocence was still very far in the future! But how aptly this film proves the point.
  19. The present film-makers have retained the essences of the plot and characters but have moved the ambience toward the next stylistic era, romanticism.
  20. This multiplicity--of people, stories, settings--is both the weakness and strength of the film. It is not easy to follow all the various threads, to get the pith of every scene. Still, this very abundance gives the whole picture a sense of authority.
  21. 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.
  22. One aspect certainly is remarkable. The dialogue is, at least to an American ear, authentic. Allen doesn't mention any aid on the script, so we are to assume that he wrote it himself.
  23. As with much art of our time--music, painting, sculpture, theater--Caché in a certain way affronts us. Its deliberate contravention of our expectations, and not necessarily stodgy expectations, is part of its intent.
  24. Here is a film that carries within itself not only the parody but the very material it exploits and subverts. [05 Sept 1994 Pg. 34]
    • The New Republic
  25. 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]
    • The New Republic
  26. Jarecki says that his film doesn't precisely answer the question in his title. He is mistaken.
  27. Sophie Scholl is not as devastatingly moving as "The White Rose," but it, too, evokes awe in lesser beings.
  28. The cast is so good that a kind of counterpoint arises between the riskily lachrymose story and the firm verity of the acting.
  29. It has long been clear that Shepard is a rare double talent. He has flourished, rightly, as a playwright, and he is also a compelling film actor. His face does more for the reality of this picture than anything he wrote in the script.
  30. Harron's work here is unclear in its theme or purpose. Was she showing how a woman managed to find a woman's way to success in a man's world? Was Harron interested in Page's delusion about what she was doing? Or did she want to scoff implicitly at the customers who made Page's career possible? We are left wondering.

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