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 Out of Sight
Lowest review score: 0 Miller's Crossing
Score distribution:
  1. Negative: 44 out of 458
458 movie reviews
  1. Throughout we keep waiting for the real Almodóvar film, and it never arrives.
  2. Demme's pacing is tight throughout, marred only by some low-angle close-ups of the cannibal that are right out of old Vincent Price thrillers. [Feb 18, 1991]
    • The New Republic
  3. As is frequently the case when there is public fuss about a film or play, the work itself is not very good.
  4. Every moment of Longley's film is interesting, and the more we watch, the more clearly we realize that the film cannot solve anything for us.
  5. Virtually everything that happens in Adaptation is almost juvenile showing off - daring to make a film that is in search of a script.
  6. We are certainly entitled to marvel at its very existence, but that isn't enough. The work itself is extraordinary.
  7. 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.
  8. The plot, the gags, the action are so stupid and strident, so unfunnily parodic, that the film's only interest is in wondering how they did it-the mix of animation and live action. [1 Aug 1988]
    • The New Republic
  9. What helps Pfeiffer most is the fact that though she is exceptionally pretty, she patently doesn't rely on her prettiness: she wants to act. But, with her Ellen, though we know what she means from moment to moment, we simply don't feel it... Winona Ryder is disastrously miscast. [18 Oct 1993, p.30]
    • The New Republic
  10. The film's title ought to be When We Were King's Pawns. Don King maximized the media circus aspects from the start, as the razzle-dazzle directing of Leon Gast, helped in the editing by Taylor Hackford and others, makes electrically clear.
  11. Two cheery notes: Nicolas Cage, as the erring brother, shows surprising signs of life, and Cher, as the erring fiancee, confounds those who swore she was a remote-control robot. [8 Feb 1988]
    • The New Republic
  12. Spider is not a pulse-quickening experience, but Fiennes's art makes it engrossing.
  13. Leigh's directing is lean and tight. In Imelda Staunton as Vera, he has an actress who can make her only two emotions interesting.
  14. 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.
  15. 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.
  16. A new voyeurism has arisen in the last two decades or so, and Trainspotting caters to it--an addiction to addiction-watching. [August 19, 1996]
    • The New Republic
  17. Melancholy but enjoyable.
  18. At the last, we're left with a film that tries to doll up a conventional genre with hints of depth, hoping to disguise the cross-dressing by putting it in the shape of an epic. Murnau, Mizoguchi, Ford, even you authors of the Book of Genesis, rest easy. [12 Oct 1992]
    • The New Republic
  19. Well-knit, generally lucid documentary.
  20. The cast could not -- one could almost say need not -- be improved.
  21. Tsai's film is not free of longueurs, but like much modern work in almost every field, these stretches are deliberate assaults on conventional expectation.
  22. One of the best elements in the adaptation is Caine's blending, like le Carré's, of the past and the present so that one can enrich the other. There are no stilted flashbacks: both past and present are treated as present, which gives the film a texture of depth.
  23. 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.
  24. The present film-makers have retained the essences of the plot and characters but have moved the ambience toward the next stylistic era, romanticism.
  25. What an extraordinary idea it was to make this film. What a splendid achievement.
  26. 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.
  27. In every aspect, his film is superbly made.
  28. The film, directed almost with fierceness by Kevin Macdonald, is a wondrous recreation of that physical adventure. The most profound element, the moral crux, is skimped, but I kept wondering, not so much about the actors who were playing Simpson and Yates, as about the cameramen who were photographing them on that icy face, possibly suspended while they were doing it.
  29. The film is emotionally and visually sustained, so it is pleasant.
  30. It is Akinshina's presence and performance that make the pedestrian story heart-wrenching. She is pretty, responsive, reflective. Without the slightest strain, she convinces us of the beauty and pathos and hope within Lilya.

Top Trailers