Stanley Kauffmann

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For 461 reviews, this critic has graded:
  • 40% higher than the average critic
  • 2% same as the average critic
  • 58% lower than the average critic
On average, this critic grades 0.9 points higher than other critics. (0-100 point scale)

Stanley Kauffmann's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Shakespeare in Love
Lowest review score: 0 Hulk
Score distribution:
  1. Negative: 45 out of 461
461 movie reviews
    • 58 Metascore
    • 60 Stanley Kauffmann
    The result is not a quilt, just a succession of story snippets that keep interrupting one another.
    • 56 Metascore
    • 50 Stanley Kauffmann
    We may indeed yawn a bit from time to time, but we know that we are yawning in the presence of a director who is intelligently disturbed by the moral inertia he sees around him and whose future is worth watching.
    • 66 Metascore
    • 50 Stanley Kauffmann
    Eastwood, who directed the picture adequately, is inadequate in this role. He has done a lot of impressive acting in films, but none of it has been sexually romantic, and the age of 64 was not the right time to take up that line of work. [03Jul1995, Pg. 26]
    • The New Republic
    • 75 Metascore
    • 80 Stanley Kauffmann
    Nothing like a full picture of Che--nor of Granado and his eventual scientific career in Cuba, for that matter. But it exhilarates with the spirit of these young men in Act One of their lives.
    • 52 Metascore
    • 60 Stanley Kauffmann
    Flies into the improbable at its big moments. [17 Mar 1997, p. 28]
    • The New Republic
    • 69 Metascore
    • 60 Stanley Kauffmann
    The gem in this rag pile is Cameron Diaz as Mary: quick, witty, pretty, warm. There is something about Mary. [17 Aug 1998]
    • The New Republic
    • 78 Metascore
    • 60 Stanley Kauffmann
    The story is multiplex and unclear.
    • 61 Metascore
    • 70 Stanley Kauffmann
    Whatever the outcome of all this hugger-mugger, as yet unresolved, Stolen gives us hints about a special sort of muscle.
    • 55 Metascore
    • 70 Stanley Kauffmann
    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.
    • 81 Metascore
    • 60 Stanley Kauffmann
    Though there is plenty of action, particularly at the start and at the end with two blasting sea battles, much of the film is not sufficiently interesting.
    • 53 Metascore
    • 80 Stanley Kauffmann
    Its rich movie-ness is heightened by the talents involved. John Mortimer knows how to shape scenes with dialogue, much as painters know how to turn shapes with color. Zeffirelli, in his long career as designer and director of opera, theater, and film, has not been noted for restraint; yet here his directing is generally taciturn and implicative. [7 June 1999, p. 32]
    • The New Republic
    • 85 Metascore
    • 80 Stanley Kauffmann
    To name only one of its predecessors -- for me, the towering one -- doesn't "Schindler's List" do everything that Polanski achieves and more?
    • 65 Metascore
    • 40 Stanley Kauffmann
    Built on one of those particularly ludicrous plots in which, just before the end, we are meant to believe that a long succession of coincidences was really a diabolical scheme. [23 Feb 1998, p. 24]
    • The New Republic
    • 82 Metascore
    • 90 Stanley Kauffmann
    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.
    • 65 Metascore
    • 60 Stanley Kauffmann
    More amusing than exciting. [19 June 1989, p.28]
    • The New Republic
    • 53 Metascore
    • 90 Stanley Kauffmann
    The very considerable impact of the picture is mainly the work of two men, the author and the star.
    • 78 Metascore
    • 80 Stanley Kauffmann
    Jacques Richard has fashioned an adoring tribute to this wonderfully maniacal man.
    • 55 Metascore
    • 50 Stanley Kauffmann
    Patently intended to be a serious exploration of a cultural encounter, but this intent withers through a lack of writers' gravity and a mass of action clich├ęs.
    • 56 Metascore
    • 90 Stanley Kauffmann
    Christine Jeffs has directed it with discretion and intimacy, almost a paradoxical privacy.
    • 62 Metascore
    • 70 Stanley Kauffmann
    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.
    • 87 Metascore
    • 100 Stanley Kauffmann
    So in all the tumult about this film, the eruption of its subject into wide attention and the consequent revelations about cowboys' lives in the past, let us--without forgetting the American sources of the screenplay--acknowledge the anomaly that the director is Chinese.
    • 86 Metascore
    • 100 Stanley Kauffmann
    The ability to conceive a compact drama on this huge subject and to embody it as perfectly as they have done, added to what they have already accomplished, puts Jean-Pierre and Luc Dardenne among the premier film artists of our time.
    • 62 Metascore
    • 40 Stanley Kauffmann
    Black comedy? Black enough, but they muffed the other word. Robert Benton and Harold Ramis, put on dunce caps and go stand in the corner.
    • 79 Metascore
    • 50 Stanley Kauffmann
    To read a Carver collection is to walk through a gallery of beautifully formed objects. To blend his stories into "soup," no matter how smartly, to see them "as just one story," is to vandalize good art, to rationalize filmic opportunism as aesthetic principle. [25 Oct 1993]
    • The New Republic
    • 31 Metascore
    • 20 Stanley Kauffmann
    Fonda believed in acting. She doesn't seem to believe in it anymore. Her performance in this film is a collection of reactions, vocal whoops, and pouncings that we have seen often before in lesser actors.
    • 49 Metascore
    • 40 Stanley Kauffmann
    I could have managed to bear all the film's shortcomings if it weren't for Clooney. Where was he during the making of this film? His face is there, he knows his lines, he moves as needed, but any traces of the intelligence and rapport, the subtlety and understanding, that have marked his best work are excruciatingly missing. Clooney behaves as if he discovered after he had committed to the film that he really didn't like the script as much as he thought he did but would go through with it anyway. The result is puppetry.
    • 88 Metascore
    • 100 Stanley Kauffmann
    Extraordinary--delicate, seriously disturbing, and lovely.
    • 81 Metascore
    • 70 Stanley Kauffmann
    The son has served the father well, though he faced an odd difficulty: the architect's life was so unusual that his son's understandable absorption with it steals a bit of time from his treatment of the work.
    • 75 Metascore
    • 90 Stanley Kauffmann
    It's dazzling and serious, with flurries of impulse playing around a persistent core of madness. [6 May 1996, p. 24]
    • The New Republic
    • 65 Metascore
    • 80 Stanley Kauffmann
    The film holds us principally because of its Napoleon. Philippe Torreton doesn't perform the role: he exists.

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