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 2.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 The Sweet Hereafter
Lowest review score: 0 Hulk
Score distribution:
  1. Negative: 44 out of 458
458 movie reviews
  1. Leigh's directing is lean and tight. In Imelda Staunton as Vera, he has an actress who can make her only two emotions interesting.
  2. A bit scattery, but it simmers with Shicoff's intensity in lending his faith and being to the role.
  3. Beatty himself is high wattage, revved up, sharp in his comic timing, gleaming with eagerness to put his film across. As director, he carries on from where he left off in “Reds;” he is sure and fluent, and occasionally he tips his hat to the past. [June 8, 1998]
    • The New Republic
  4. Nolte and Coburn are so powerful that they distort what, we are told, is the story's theme. [Feb. 1, 1999]
    • The New Republic
  5. The story of the film is a quiet local tale; the directing is sophisticated.
  6. Ford would probably have grumbled about some things in this picture--some moments of confusion about who is who--but he might have been pleased to see that his influence, so marked in many countries' films, had reached China and Tibet.
  7. The present film-makers have retained the essences of the plot and characters but have moved the ambience toward the next stylistic era, romanticism.
  8. The picture tries hard for addictive mystery, but it is full of scenes that promise insight and don't deliver.
  9. Substantively there is no content. Everything we see or hear engages us only as part of a directorial tour de force. That force is exceptional, but since there is not much more to the picture, it leaves us hungry.
  10. Especially in the moving moments, this film prods us into a kind of reproof. Kushner is now fifty, a prime writing age, and we want more.
  11. If only Cantet and Robin Campillo (who based their screenplay on stories by Dany Lafèrriere) had balanced the sexual and political elements more acutely, the result could have been searing.
  12. Sympathy for a pedophile is difficult, but surely comprehension may be possible, and Bacon evokes it.
  13. The result is glib, often funny, sometimes bumpy, and ultimately depressing.
  14. Burman is particularly good at the tiny details that become recognition points in daily patterns.
  15. The performance that comes closest to capturing the Waugh elixir is Fenella Woolgar's as madcapping Miss Runcible, who ultimately commandeers a racing car.
  16. Caouette has opened up a case history vividly, but he has left us without any conclusions, not even with much enlightening empathy. Something more than truth--dare one say "mere truth"?--is needed.
  17. 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.
  18. 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.
  19. Cuadron, at the helm, wanted to pitch his film in a terrain accessible to modern sensibility yet different from what that sensibility is generally fed. And he might have succeeded, except for his casting. [2 March 1998, p. 26]
    • The New Republic
  20. 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.
  21. Melancholy but enjoyable.
  22. Well-knit, generally lucid documentary.
  23. That climax stretches credibility, but the whole point of the piece is that the Joe of the opening has become someone else.
  24. A binding strength of the film is the performance of Choi Min-Sik as Ohwon: far from any fake-Barrymore antics, he makes us feel that we are intruding on the heat and genius of a man for whom life -- existence as is possible in the world -- is insufficient.
  25. 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.
  26. Still, flaws and all, we have to be grateful to Nunez for persisting in his independence.
  27. Ardant is marvelously genuine: fiery, petty, exalted.
  28. Throughout the film a question tugs at the viewer. Kinsey's work was inarguably important, but his life is not especially interesting.
  29. Whatever the plot, it is soothing to be in the company of Fanny Ardant, who plays Catherine and whose twenty-five-year career is dotted with small treasures.
  30. Mathilde's story is well enough handled by Jeunet to be endurable, and the rest of the film is a reward.

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